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UNIVERSITY OF OKLAHOMA

GRADUATE COLLEGE

MORCEAUX DE CONCOURS POUR TROMPETTE ET CORNET, CONTEST PIECES OF THE PARIS CONSERVATORY 1835-1999

A Major Document

SUBMITTED TO THE GRADUATE FACULTY

In partial fulfillment o f the requirements for the

degree of

DOCTOR OF MUSICAL ARTS

By

Frank Edward Romero Norman, Oklahoma

2001

UMI Number: 3004891

UMIUMI Microform 3004891

Copyright 2001 by Bell & Howell Information and beaming Company. All rights reserved. This microform edition is protected against

unauthorized copying under Title 17, United States Code.

Bell & Howell Information and Learning Company 300 North Zeeb Road

P.O. Box 1346 Ann Arbor, Ml 48106-1346

MORCEAU DE CONCOURS POUR TROMPETTE ET CORNET, CONTEST PIECES OF THE PARIS CONSERVATORY 1835-1999

A Major Document APPROVED FOR THE SCHOOL OF MUSIC

BY

Dr. Irvin Wagner, Chairman

Dr. Jacob Larson, co-chairman

Dr. Eugene Ennco

Dr. Michael Rogers

Dr. BCarl Sievers

Dr. Alôed Striz

ACKNOWLEDGEMENTS

I wish to acknowledge the following for their support and assistance

in the preparation o f this document Doctoral committee; Dr. Irvin

Wagner, chair; Dr. Jacob Larson, co-chair, trumpet; Dr. Eugene Enrico,

music history; Dr. Michael Rogers, music theory; Dr. Karl Sievers,

trumpet; and Dr. Alfred Striz, aerospace engineering.

I would like to additionally thank Dr. Paul Hammond and my

colleagues at Oklahoma Baptist University for their support and

understanding; Dr. Jacob Larson for his expertise and unending

encouragement throughout my studies at the University of Oklahoma; my

past trumpet instructors; Professor Sam Trimble; Professor John Haynie;

Professor Robert Nagel; and Professor James Whitlow; Professor Anne

Hammond and Dr. Gary Chancellor for their assistance in translation and

proof reading the document

Finally, I wish to thank my family for their unconditional love and

support.

/V

For

Debbie, from whom I draw my strength.

Sam and Jake, who made this possible.

Dad, who provided the desire.

TABLE OF CONTENTS

PREFATORY DOCUMENTS................................................................................................. iAcknowledgements..........................................................................................................ivDedication......................................................................................................................... v

Table o f Contents............................................................................................................ viBibliography................................................................................................................... viiList o f Appendices.........................................................................................................viiAbstract..........................................................................................................................viii

CHAPTERS

1. LE CONSERVATOIRE NATIONAL SUP ERIEUR DE MUSIQUEOrigins of the Conservatory............................................................................... 1

Le Académie Royale de Musique et Le Ecole Royale de Chant........................ 3La Musique de la Garde Nationale Parisienne et la Création du Conservatoire.......................................................................................................5

2. THE FRENCH MUSIC EDUCATIONAL SYSTEM AND ITS

CULMINATION IN LE CONCOUR DE PRIX................................................ 15Concour de Prix................................................................................................. 22

3. CRÉATION DE LA CLASSE POUR LA TROMPETTE ET LE CORNETTrompette, The Formative Years..................................................................... 24Cornet à piston...................................................................................................32

4. COMPARATIVE STUDYde le Morceaux de Concours........................................................................... 38

vv

BIBLIOGRAPHY

Books......................................................................................................................................... 96Dissertations and Thesis.......................................................................................................... 97Morceaux de Concours found in Publication......................................................................... 98

APPENDIX AMorceaux de concours pour trompette..................................................................................107

Morceaux de concours pour cornet....................................................................................... 129

APPENDIX BBiographie du les Compositeur..............................................................................................149

vu

ABSTRACT

Since 1835, the Conservatoire National Superior de Musique de Paris

has produced an abundance o f trumpet literature in the form o f studies and

solos. The most popular o f these was the Arban’s Conservatory Method

compiled by Joseph Jean-Baptiste-Laurent Arban, professor du comet,

1869-1874, 1880-1889/ Although much has been written about the

conservatory and the remarkable literature generated through this

institution, the majority o f the trumpet and comet literature has generally

been ignored. Robert Dale Olson, in his thesis. The Development O f

M odem Solo Trumpet Literature As Traced Through The Morceaux De

Concours A t The Paris Conservatory, written in August, 1957, is one o f two

known compilations of the concours for the trumpet and cornet.^ More

recently, a doctoral dissertation by Mary Gillian MacKay, Trumpet and

Com et Concours Music at the Paris Conservatoire, 1835-1925: The

Development o f Styles and Roles, traces the development o f the trumpet and

comet concours through 1925.

Many facts about the trumpet and comet concours have been

uncovered since Olson's thesis o f 1957. Lost or misplaced manuscripts and

documents have been found and archived in various libraries throughout

Paris. MacKay’s thesis is a comprehensive coverage o f the early concours

Joseph, Jean Baptiste Laurent Arban, Arban's Complete Conservatory Method fo r Trumpet, (New York: Carl Fisher Inc., 1936), 2.

Robert Dale Olson, The Development o f Modern Solo Trumpet Literature as Traced Through The Morceaux de Concours at the Paris Conservatory. (M.M. Thesis, University o f North Texas, 1957).

viii

but does not address any concours written after 1925.

Le Conservatoire National Supérieur de Musique de Paris celebrated

its bicentennial in February o f 1995. The festivities included an entire

week devoted to concerts and programs celebrating the conservatoiy^'s

history and production of a multitude of exemplary musicians and artists. It

was during these festivities that a new facility was opened and dedicated.

Le Conservatoire National Supérieur de Musique de Paris is now located at

209, avenue Jean-Jaurès at the Parc de la Villette'. an area devoted to the

arts, sciences and education. The facility houses two libraries; one at the

conservatory. Médiathèque Hector-Berlioz, and one at the Cité de la

Musique, Médiathèque Pédagogique.

Included is updated information concerning the morceaux de

concours., available biographies o f composers, and an updated history o f the

conservatoire and concours in relation to the trumpet and comet. Included

is a study o f select solos and comparative changes in style and content

brought about during the twentieth century.

The solos o f the Paris Conservatory have had a tremendous impact

upon the literature written for trumpet and comet over the past century.

Literature written for the modem piston trumpet and comet was extremely

sparse entering the twentieth century. Piston and rotary-valved instruments,

not being fully developed until the second quarter o f the nineteenth century,

have had a relatively short period o f maturation compared to many

woodwind, string, and keyboard instruments. It was not until the latter partix

of the nineteenth century that the comet was considered worthy o f solo

literature; the trumpet was primarily used in orchestral settings.

Late nineteenth century and early twentieth century music written for

the comet and trumpet was welcomed by trumpet professors and musicians

throughout the western world. As a result, the establishment o f the

Concours de prix produced a yearly solo (several solos were used more than

once), written for each instrument (in addition to various studies), in an

effort to raise the standard o f performance at the conservatory. The

trumpet class became part o f the conservatory curriculum in 1833 with the

first contest solo written for that instrument two years later. The comet was

not made part o f the curriculum until 1869, and the contest for this

instrument was held the very same year.^

In the early years, the morceau de concours was written by the

professeur du trompette ou cornet at the conservatory. François-Georges-

Auguste Dauvemé became the first trumpet instmctor at the Paris

Conservatory. All morceaux de concours for trompette were written by

Dauvemé during his tenure (1833-1869). Several of his compositions were

selected for the concours after his departure."

Over the past century, the Conservatoire National Supérieur de

Musique has produced a multitude of first rate solos for trumpet and comet.

The intemational trumpet community has been made aware o f several Robert Dale Olson, The Development o f Modem Solo Trumpet Literature as Traced Through

The Morceaux de Concours at the Paris Conservatory. M.M. Thesis, University of North Texas, 1957. 49-52.

* d’Emmanuel Hondré, editor. Le Conservatoire de Musique de Paris: regards sur une institution et son history, (Paris: Louis-Jean, 1995), 290.

X

compositions which have made their way into various trumpet studios

throughout the world and become staples in our libraries. Solos such as

Rustiques, Bozza; Quatre Variations sur le theme du Domenico Scarlatti,

Bitsch; and Concerto, Chaynes; are frequently performed in recital. Other

solos such as Strophes, Weber; Mobiles, Rueff; and Funky Studies, Hurel;

have not been as popular.

Much has been written o f the Paris Conservatory and the morceaux de

concours. Valuable background information for instruments such as

clarinet, bassoon, and horn is readily available from various libraries across

the United States. The bulk of the information needed for this particular

study is at the source itself.

There are three main library holdings of documents for the Paris

Conservatory and the morceaux de concours. Le Bibliotéque National, the

national library located in Paris, contains manuscripts, letters, documents,

and photographs pertaining to the conservatory since its inception in 1795.

Information concerning the morceaux de concours for trumpet and comet

up through 1930 is archived at this location. Médiathèque Hector-Berlioz,

le bibliotéque du conservatoire, is relocated at the new conservatory site at

209, avenue Jean-Jaurès at the Parc de la Villette. Additional documents,

manuscripts, and published editions o f the morceaux de concours are located

in this library. The third site contaming documentation concerning the

Paris Conservatory is located at the Cité de la Musique, Médiathèque

Pédagogique. This site is located directly across from the conservatory onxi

avenue Jean-Jaurés. Cité de la Musique also houses the Museé de la

Musique, one o f the largest collection o f musical instruments in the world,

organized to help visitors discover a history o f music as exhibited by the

collection/

From published documents, there seem to be discrepancies of actual

dates cited for the morceaux de concours pour trompette et cornet. Several

sources were cross referenced before confirmation and documentation of

dates. The writer visited the above libraries to gather pertinent and missing

information concerning the solos o f the conservatory, its history, and areas

related to the completion o f this document

This document contains a comparative study and evaluation o f

selected morceaux de concours which relate requirements o f the concours,

styles, and manner o f implementation in relation to the composers and

professeurs. With a comprehensive study o f the solos and an evaluation o f

that literature, we will track the musicianship o f each composer, the abilities

o f the student performers, and the influences o f the professeurs. With the

employment o f various professeur du conservatoire and changes o f

administration at the conservatory, there came about many alterations in

requirements throughout the history o f the concours. The writer will

identify any changes and evaluate reasoning for any modification.

In 1979, due to a lack o f fimding at the conservatory and the cost for

commissioning a new contest piece every year, administration elected to

’ Gilles de Bure, Le Cité de la Musique et le Parc de La Villette, (Paris: Beaux Arts, 1996), 5.xii

rotate the commissioned piece among the various instruments.® Although

officially the funding for the morceaux de concours was adjusted in 1979,

records indicate that a new composition had been written and published for

both trumpet and comet several years after funding was no longer available

from the conservatory.

Over the past two centuries, Paris has been engaged in several

conflicts in government and a foreign occupation. Many documents

archived by the Bibliotéque National were stored throughout Paris for

safekeeping during World War II. Most of these documents have survived

and have been returned to the Bibliotéque National but some still remain

unaccounted for. Using previous documentation and viewing available

sources, the writer was able to accumulate a comprehensive composite of

related material, although some voids did exist.

A majority o f the morceaux de concours have been published by

numerous music publishers throughout Paris over the past two centuries.

The writer sought all published material and purchased as many solos as

were available. Many solos are currently out o f print and various publishers

have since gone out o f business. The writer was able to view all the

documents, published and non-published available at the Bibliotéque

National, Médiathèque Hector-Berlioz, and Cité de la Musique,

Médiathèque Pédagogique.

Throughout this process, the writer was able to compile a‘ Susan J. Relcward, The Horn at the Paris Conservatoire and its Morceaux de Concours to

1996, (MA Thesis, University o f North Texas, 1997), 21.xiii

comprehensive chronological order o f the morceaux de concours pour

trompette et cornet An evaluation o f selected materiM, a brief biographical

sketch o f each composer, and an updated history of the conservatory and its

concours for trumpet and comet is also included. This document will serve

as a resource for future study of the morceaux de concours pour trompette et

cornet.

X I V

CHAPTER 1

LE CONSERVATOIRE NATIONAL SUP ERIEUR DE MUSIQUE

Origins o f the Conservatory

While the Paris Conservatory is considered to be one o f the Premier

schools o f music and musicians, the concept o f the conservatory did not

originate in France. The origins o f Le Conservatoire National de Musique

can be traced to the term which defines its existence and function. The

idea o f the conservatory is attributed to the Italian conservatori, or

'‘‘‘conservatorio". This name applied to a type o f charitable institution which

cared for illegitimate, deserted, or destitute children; the “musically gifted

young inmates were literally ‘conserved’ for the art of music and trained

for musical service at church or court.”' Although this practice eventually

became the final result o f some orphanages, music education was not a

significant activity taken up by the institution.^

Our first documented evidence of music being introduced to these

orphanages was in Naples circa 1590-1600 at the Conservatorio dei Poveri

de Gesu Cristo. The children at the orphanage were encouraged to “search

for alms for their own upkeep, and to go out into Naples singing litanies

* Joseph John Caringi, The Clarinet Contest Solos o f the Paris Conservatory: With a Performance Analysis o f Selected Compositions (PH.D. diss. Columbia University, 1963), 7, quoting Constant Pierre, B. Sarrette et les Origines du Conservatoire National (Paris: Delelain Frères, 1895), 129- 130.

Susan J. Rekwark, The Horn at the Paris Conservatoire and Its Morceaux De Concours to 1996, (M-A.T. thesis. University o f North Texas, 1997), 1.

1

and laiidi spirituali.” This activity proved to be profitable for both the

children and the institution. The response firom the community was so

overwhelming that the orphanage began to receive requests for music to be

performed at more formal activities such as weddings and public

ceremonies in addition to their street appearances. It was also noted that the

quality of music in the chapel services began to improve and to attract

additional worshipers, adding to the finances o f the church. This activity

spread to Venice where the proprietors o f the Ospedale de Pietd in Venice

began to increase the size o f its music collections and to add to its vocal

staff by employing instrumental instructors to teach at its conservatorio.

Although the quality o f music continued to improve in chapel

services and a larger number of worshipers were attending services, the

orphanages continued to struggle to keep up with financial obligations. The

primary function of the conservatorio was to provide shelter, nourishment,

and hospital services for the children. The additional expense o f having to

hire musicians and the rising cost of running the day-to-day activities of the

orphanage resulted in a decision to begin soliciting fee-paying pupils. The

role o f the conservatorio changed to that o f an educational institution.

Many students continued to receive their education free o f charge, but now

there were those students who paid tuition, room, and board.“

’ Aline Pendleton, “Education in Music”, The New Grove Dictionary o f Music and Musicians, Stanley Sadie, ed. (London: Publishers, Ltd., 1980), vol. 6, 18.

* Susan J. Rekwark, The Horn at the Paris Conservatoire and Its Morceaux De Concours to 1996, (M.A.T. thesis. University o f North Texas, 1997), 2.

2

The Neapolitan Conservatorio Santa Maria di Loreto began charging

certain students for tuition and board as early as 1667, and by the late 17th

century, an increasing demand arose for accommodations and additional

professors for conservatorios throughout Italy. This became even more

pronounced in the eighteenth century when the fame of the Italian

conservatorios began to attract the children of foreign nobility.*

During the later part of the seventeenth century and the early

eighteenth century, the Italian conservatorio began to take on a formal

educational role. The maestro de cappella ’s role was now of administrator

and composer, and the conservatorio increased offerings to include

instruction in brass, strings, and woodwinds.

The eighteenth century was a time of growth and fame for the Italian

conservatorio. Many of the Italian opera performers o f that time were

trained in the conservatorio and traveled and performed throughout Europe.

Le Académie Royale de Musique et Le Ecole Royale de Chant

The académie and the conservatoire in France were adopted for a

much different reason than in Italy. It was as early as 1669 that a monk by

the name o f Abbé Perrin obtained the licenses necessary to establish music

academies throughout France. These academies were dedicated to educate

musicians, to provide musical services, and to present theatrical works for

’ Susan J. Rekwark, The Horn at the Paris Conservatoire and Its Morceaux De Concours to 1996, (M.A.T. thesis. University o f North Texas, 1997), 3.

3

the municipalities o f Paris and other cities throughout France/ The first

École de chant specifically devoted to opera. Le Académie Royale de

Musique, was founded three years later by Jean-Baptiste Lully/ In 1680,

Mile. Marthe Le Rochois opened the Ecole de Chant et de Déclamation

and, in 1713, Lully’s successor at the Académie and son-in-law, Francine,

opened the Ecole du Magasin.

Music and the académie did not become important to the crown until

the reign of Louis XVI (1774-1792) and, by royal decree, the Ecole Royale

de Chant et de Déclamation was established. The Ecole Royale de Chant et

Déclamation was to be “une école dans le goût des conservatoires d ’Ita lie”

(school modeled after the Italian conservatories); Italian musicians were still

regarded as superior to those educated in France. This school was

administrated by François-Joseph Gossec and was given a five year

probationary contract.® Initially, only fifteen students (eight boys and seven

girls) benefited fi-om the school. Courses ranged from solfège, chant,

speech, grammar, harpsichord, and accompaniment, to fencing and dance.

Le Ecole de Chant et Déclamation met harsh criticism during its

tenure. The school was openly attacked for extravagance and general

incompetence by opponents o f Louis XVT, but it did manage to produce

many talented musicians.^‘ Kristine Klopfenstein Fletcher, The Paris Conservatoire and the Contest Solos fo r Bassoon,

(Bloomington: Indiana University Press, 1988), 1. Susan J. Rekwark, The Horn at the Paris Conservatoire and Its Morceaux De Concours to

1996, (M.A.T. thesis. University o f North Texas, 1997), 3.* Laetitia Chassain-Dolliou, Le Conservatoire de Paris, ou Les Voies de la Création, (Paris:

Gallimard, 1995) 14.’ Ibid., Rekwark, 4.

4

During the reign o f Louis XVT, France encountered political

instability. The French Revolution, which began with the storming of the

Bastille on July 14, 1789, had its toll on the Ecole Royale de Chant et

Déclamation. In order to keep its doors open, the school survived by

swearing its allegiance to the new régime and denouncing the old. In 1791,

there was an attempt to reorganize the école and, on February second o f that

year, six days after the execution o f King Louis XVT, the school premiered

the lyric production Triomphe de la République ou le Camp de Grandpré.^'

From this point on, Gossec became the great composer of music for the new

republic. His duties included composing music for many government

related parades and official ceremonies.

La M usique de la Garde Nationale Parisienne et la Création du

Conservatoire

Two opposing political ideals brought about the origins of the

conservatory in France. First were the demands o f the ancient régime and

the need to educate first rate opera musicians in France and second was the

need to create a school for musicians who would serve the new régime in

services for the government. There was also a need to elevate the integrity

o f the French musician; France was far behind her European counterparts.

Grétry, one of the leaders o f the Opéra-comique movement, might have

been reflecting the views of his fellow composers when he wrote theSusan J. Rekwark, The Horn at the Paris Conservatoire and Its Morceaux De Concours to

1996, (M.A.T. thesis. University o f North Texas, 1997), 4.5

following concerning instrumental music:

[it] is only an inferior and ill-determined form of musical invention, as it were, a mere natural noise or wailing, a phantom music, almost a false music in the metaphysical, and the vague emotion received from pure instrumental music appears to be the mark of dissolute sensibility."

The only French composer of any reputation, preceding the French

Revolution, to write instrumental music in any form was Gossec. His

Second Symphony, written in 1771, is believed to be the first to be heard in

France." Even though composers such as Rousseau, Méhul, Grétry, and

Lesueur contributed greatly to the music o f France, they were

overshadowed by their German and Austrian counterparts, Haydn and

Mozart. The French had little confidence in their own, most obviously

displayed by the consistent importation and idolization of foreign

composers such as Gluck, Cherubini, and Spontini. It is to these men that

France owes its direction prior to the nineteenth century."

Even though France did possess a number of virtuoso wind and string

instrumentalists, it was the German/Austrian artists who gained a positive

reputation across Europe." Among singers, it was the Italians in their

Italian opera companies, who gained popularity and success in France.

Their style and quality o f voice production were vastly superior to that of‘ Caringi, Joseph John. The Clarinet Solos o f the Paris Conservatory; With a Performance

Analysis o f Selected Compositions. Ed.D. Thesis, Columbia University, 1963, quoting Pierre Lassé, The Spirit o f French Music (London: Kegan Paul, Trench, Trubner & Co., Ltd., 1921), 21.

Arthur Ware Locke, Music and the Romantic Movement in France (London: Kegan Paul, Trench, Trubner & Co., Ltd., 1920), 61.

" Caringi, Joseph John. The Clarinet Solos o f the Paris Conservatory; With a Performance Analysis o f Selected Compositions (EcLD. Thesis, Columbia University, 1963), 3.

“ Ibid., Caringi, 4.6

their French counterparts. The sparseness o f premier composers, singers,

and instrumentalists contributed to the government’s institutionalization of

the training o f young musicians in France.

Toward the last quarter o f the eighteenth century, France was marked

by social and religious discrimination primarily imposed by the governing

body. The general populace, demanding change, began to rebel against the

monarchy and the imposed injustices. It was during this time that Bernard

Sarrette, a career military officer, was placed in charge o f one-hundred-

fifty soldiers fi*om various regiments, in the district of Filles-Saint-Thomas.

Sarrette, a cellist, formed La Musique de la Garde Nationale Parisienne,

using forty-four musicians and students o f the dépôt des gardes français.

The function o f this regiment was to provide music for military ceremonies

and other government functions.

Jérôme Thiébaux quotes Constant Pierre in his discussion concerning the function o f la musique du la garde national.

La musique de la garde national mérite d'être distinguée par l'influence qu'elle a eue dans la Révolution. Ce serait vouloir se refuser à l'évidence que de contester cette influence; et ce serait connaître bien peu les effets de cet art tout puissant que de croire mal employé l'argent destiné â en favoriser les progrès. Cette Musique, in effet, a eu part à toutes les cérémonies publiques, et, pour ainsi dire, tous les actes de la Révolution. M. Gossec, peut en être appelé le musicien, et M. Sarrette l'a secondé avec un zélé au- dessus de tous les éloges.

” Arthur Hervey, French Music in theXIXth Century (New York: E. P. Duttoa & Co., 1903), 27. d’Emmanuel Hondré, editor. Le Conservatoire De Musique de Paris: Regards sur une

institution et son histoire, (Pairs: Louis-Jean, 1995), 39.7

translated:

The music o f the national guard deserves to be recognized by the influence which it had upon the Revolution- It would be very easy to ignore the obvious and dispute this influence; and it would also be easy to ignore the effects o f this very powerful art form which many believe poorly utilized the funds designated to support its existence. This music took part in all public ceremonies and shared in all the acts o f the Revolution. hhr.Gossec, can be regarded as the musician in charge, as Mr.Sarrette assisted with much enthusiasm.

In June o f 1789, the old government Etats-Général was replaced by

the National Assembly, an organization independent of the King.’’ On July

14, 1979, the Bastille was stormed and, on that very same day, Sarrette and

his ensemble o f seventy-eight musicians offered their services to the

military committee. This act was greeted with much enthusiasm by the

newly formed government and the populace alike.

By 1790, the districts o f the Garde national had united into one

musical corps, which was supported by the municipality of Paris.’* In

1792, Sarette and the musicians o f the Garde national presented a proposal

to the city government to establish a formal school of military music. The

plan was first rejected by the city administrators, but they suggested that a

national school o f military music might be instituted by the new

government body, the Legislative Assembly. In June 9, 1792, M. Viguier

Cumy, the Conseil générale de la commune, allowed Sarrette to establish a

” Kristine Klopfenstein Fletcher, The Paris Conservatoire and the Contest Solos fo r Bassoon, (Bloomington; Indiana University Press, 1988), 2.

'* Susan J. Rekwark, The Horn at the Paris Conservatoire and Its Morceaux De Concours to 1996, (M.A.T. thesis. University o f North Texas, 1997), 4.

8

free school in order to train military musicians.*® This instimtion was to

offer free instruction to one-hundred-twenty musicians. Included would be

sons of citizens serving in the Garde nationale, two from each o f the sixty

battalions.

Criteria for the Ecole Gratuite de Musique de la Garde Nationale

Parisienne were that students should be between the ages o f ten to sixteen

years old having no musical background, and that those seventeen through

twenty have some musical background to be accepted.^® Before admittance,

students were first required to pass an examination administered by the

school’s music master with assistance of the professeur o f the chosen

instrument. After being accepted, the students were to provide their

instrument, uniform, and manuscript paper. Each week, the students

received three one-hour lessons on their instrument and two one-hour

lessons in solfège. Along with their teachers, the students were expected to

serve in the Garde nationale, perform at public festivals, and take part in

annual public exercises in the presence of the municipal body.^* On

November 20, 1793, the École gave its first public exercise at the Théâtre

de la rue Feydeau. The music performed at many such exercises gained

such popularity that a Magasin de Musique à l ’Usage des Fêtes Nationales

(music library) was established.

” d’Emmanuel Hondré, editor. Le Conservatoire De Musique de Paris: Regards sur une institution et son histoire, (Pairs: Louis-Jean, 1995), 40,

Susan J. Rekwark, The Horn at the Paris Conservatoire and Its Morceaux De Concours to 1996, (MA.T. thesis. University o f North Texas, 1997), 5.

Kristine Klopfenstein Fletcher, The Paris Conservatoire and the Contest Solos for Bassoon, (Bloomington: Indiana University Press, 1988), 3.

9

Partly due to financial difficulties, on November 8, 1793, Sarrette

petitioned the national convention to place his school under the patronage of

the Republic of France instead o f the municipality o f Paris. After many

hours of debate, consensus was reached to combine the Ecole de Musique de

la Garde National and the Ecole Royale de Chant to form the new Institut

National de Musique. Sarrette was appointed Capitaine commandant, with

Gossec as his Lieutenant maître de musique.

Personnel for the new Institut National de Musique primarily

consisted of those serving the two other schools. The following is a roster

o f the personnel with rank and the duties o f each person.

Administrateurs:Bernard Sarrette François Gossec Jean-Xavier Lefévre

Antoine Buch Thomas Delcambre François Devienne

Professeurs premiér classe: Ignace Blasius André Chelard Frédéric Duvemoy André Gallet Joseph Gamier François Guthmann

Antoine Hugot Joseph Kenn Rodolphe Kreutzer

Capitaine, CommandantLieutenant, Maître de musiqueSous-maître de musique, clarinette, opéra,gardes FrançaisSergent, cor, opéraSergent, basson, opéraSergent, basson, opéra

bassonsolfègecor, concert spirituel, opéra gardes Françaises hautboistrompette, solfège, opéra, violoniste du théâtre Italien flûte, feydau, opéra cor, opéraviolon, chapelle Italien, opéra

10

Louis Lefévre clarinette, opéraGabriel Leroux solfègeHenri Le Vasseur violoncelle, opéraJean Mathieu serpent, chapelleEtienne Ozi basson, chapell/opéra, concert spirituelJacques Schneitzhoeffer flute, hautbois, gardes firançaises, opéraHenri Simrock cor, solfègeEtienne Solére clarinette, concert spirituel, chapelle, opéraLouis Tulou basson, opéraGaspard Veillard serpent, basson, gardes françaises, opéra

Professeurs deuxième classeMichel Gebauer hautboisEtienne Horace gardes françaises, feydeauP.-Claude Jérôme

Professeurs troisième classeGabriel Hardouin trompetteP.-Marie Sarazin basson

Supplémentaires du 21 novembre 1793Etienne Mehul compositeurFrédéric Blasius violonPierre Blasius violonHenri Domnich cor, opéraFrançois Gebauer bassoonFrançois Sallantin hautbois, opéra^^

The progress o f the Institute National de Musique was continually

impeded by its lack o f funding, lack o f organization, and a clear vision for

the institution. Along with other difficulties experienced by the institution,

its founder and commandant, Sarrette, was imprisoned on March 25, 1794,

d’Emmanuel Hondré, editor. Le Conservatoire De Musique de Paris: Regards sur une institution et son histoire, (Pairs: Louis-Jean, 1995), 67-69.

I l

for being unpatriotic/^ Despite these problems, the Institute National de

Musique became the first truly modem music conservatory, fi*ee from

charitable responsibilities, and with a completely secular foundation.

Bernard Sarrette was released after a very short incarceration on

probationary freedom, to organize a music corps for Le Garde de noir. He

kept in communication with the professeurs and the administrateurs at the

institute specifically to improve the infrastructure o f that body. For a

variety of reasons, the Committee of Public Instruction (governing body to

the institute), procrastinated in setting down guidelines for the newly

created institute. '*

In an attempt to give the institute greater visibility, on November 6,

1794, Sarrette organized a grandiose concert given by the institute at the

Théâtre Feydeau. Every musical aspect o f the institute was presented in a

magnificent marmer.^^ Shortly after the presentation, the committee

requested reports and documents from the institute.

The following is an abridged translation o f the organizational

proposal developed by Sarette and Gossec (translated by Fletcher):

The duties of the administration (of the Institut National de Musique) include general overseeing of the school, being in charge of service for national events and public concerts, and executing laws and decrees relative to the institute. This administration is composed of members o f the institute, nominated to the position and

Kristine Klopfenstein Fletcher, The Paris Conservatoire and the Contest Solos fo r Bassoon, (Bloomington: Indiana University Press, 1988), 4.

” Ibid.” Ibid.

12

subordinate to the Committee of Public Instruction.Other staff members include a secretary, a master composer, four

adjunct composers in charge of observing teaching, one clarinetist to conduct the wind orchestra, 124 musicians-professors, a librarian, and a copyist

Under the report of public instruction, the institute is divided into four principal sections: solfège, instruments, singing, andcomposition. Solfège is the responsibility o f an adjunct composer. The section is divided into rational and practical theory. There are 18 classes o f ten students each; 18 professors will teach 180 students. Instruments are the responsibility of an adjunct composer and the first clarinetist, who is charged with conducting the rehearsals of the wind orchestra. They are divided into 97 classes according to instrument.

Singing is the duty of an adjunct composer and is divided into vocalization, chant simple, and chant déclamé. Composition is the responsibility o f the master composer and an adjunct composer. It is divided into theory, practice, and accompaniment.

The breakdown in the number of classes, professors, and students forming the Institute is thus: Solfège: 18 classes, 18 professors, 180 students; Instruments 97 classes, 97 professors, 452 students; Composition, 3 classes, 5 professors, all students who are judged ready. The total comes to 127 classes, 129 professors, and 704 students.

Both sexes may attend classes in solfège, singing, clavecin, and composition. No student is admitted to the Institute unless he possesses the physical and intellectual qualities necessary to study music, particularly wind instruments. Age requirement for admission is set at 8-14 years old for those with no knowledge of music and 8-20 years old for those who are already musicians.

A wind orchestra of at least 100 musicians will be formed at the Institute. By instrument, the orchestra will consist of: 1 clarinetist conducting the orchestra, 6 flutes, 10 oboes, 30 clarinets, 18 bassoons, 4 contrabassoons, 6 serpents, 6 first horns, 6 second horns, 4 trumpets, 2 buccini [variety of trombone], 2 tuba corvae, 3 trombones, and 2 timbaliers [timpani players]

Kristine Klopfenstein Fletcher, The Paris Conservatoire and the Contest Solos for Bassoon, (Bloomington: Indiana University Press, 1988), 5-6.

13

Before the proposal could be presented to the committee, Bernard

Sarrette was named on a list o f terrorists, decommissioned, and again

imprisoned from April 28 to May 31, 1795/^ After presentation and

review o f the proposal, the Convention adopted the plan with three changes:

the name “Conservatoire” was substituted for '‘ 'Institute Central de Musique^’’

(the name suggested by the report) in order to avoid confusion with the

Institute de Sciences et Arts (still under formation); the Institut des Sciences

et Arts would oversee the selection o f new professeurs’, and the functions of

the executive powers were assigned to the Committee o f Public

Instruction.^®

On August 3, 1795, Le Conservatoire National de Musique et de

Déclamation was formed, and a list o f classes, professors, and students was

formalized. In doing so, it was also necessary to abolish the special decrees

which were used to form the Ecole Royale de Chant and the Institute

National de Musique.

Kristine Klopfenstein Fletcher, The Paris Conservatoire and the Contest Solos for Bassoon, (Bloomington: Indiana University Press, 1988), 5-6.

' Ibid.14

CHAPTER 2

THE FRENCH SYSTEM OF MUSIC EDUCATION AND ITS CULMINATION IN Le Concours de Prix

The nineteenth century had proven to be a period which France

struggled with recognition in music education. Even though the French had

begun to take steps toward better educating their young musicians, they still

were far behind their European counterparts, especially Germany. Toward

the end of the nineteenth century, the foundation for the French music

educational system was formulated. By 1884, the government assured

wide-ranging coverage by establishing twenty-four music schools

throughout the provinces of France. The goal o f the French government, at

this time, was not necessarily to produce world class musicians or provide

musicians for government functions, but to heighten the awareness and

interest of music in the general populace and provide culture and general

music education to its youth. Although there was a definite discrepancy

between the quality of music education among the various schools, they did

provide basic music education and a basis by which the government would

develop the system which is currently being employed.

In 1948, the French government re-organized the existing music

schools into three divisions, each obligated to offer fourteen of the basic

disciplines; solfège, piano, voice, four string instruments, four woodwind

15

instruments, and three brass instruments. The main distinction that exists

between these preparatory schools is the experience and ejqpertise o f the

instructors, the size o f the institution, and funding received from the

government. These Conservatoires régionaux were formed for those

students who planned on making music a career. Many students are

separated from their families and travel long distances in order to attend the

conservatoires to receive optimum instruction in music.^’

In 1966, André Malraux, Minister of Cultural Affairs, created Le

Service de la Musique. Le Service de la Musique established fourteen

Conservatoires nationaux de région, charged with refinement o f the

previous goals. Four divisions for music education resulted from Le Service

de la Musique and currently exist in France. The most coveted o f the

institutions are Le Conservatoire Supérieur de Musique de Paris and Le

Conservatoire Supérieur de Musique de Lyons; both viewed by the French

government as equal in quality and prestige. The Conservatoires Supérieur

are followed by, in order: Le Conservatoires Nationaux de Région; l 'Ecoles

Nationales de Musique; and l'Ecoles Municiples de Musique Agrées . Only

at the Conservatoire Supérieur does the student spend an entire day. Other

institutions require only a portion o f the student’s entire schedule. The

remainder of the student’s time is spent in the lycée (regular public school),

receiving a general education.^®

Susan J. Rekwark, The Horn at the Paris Conservatoire and Its Morceaux De Concours to 1996, (M.A.T. thesis. University o f North Texas, 1997), 13.


16

It is the goal of every serious music student to be accepted into one of

the two Conservatoires Stipérieurs. To do so, a student must pass through

several levels of instruction in both his instrument and solfège. It is not

necessary to have finished the lycée to enter the conservatory. The three

most advanced levels o f instruction are, in order: Moyen, Diplôme, and

Supérieur. To enter the next level, the students must pass a proficiency

examination at the end o f each year, l ’examen de fin de l ’année. If they do

not pass on the first try, the students must remain at that level an additional

year. It is not uncommon for a student to remain at the same level for

several years.

Before being admitted to the supérieur level, a trumpet or comet

student must first pass an entrance audition before the professeur de

trompette and a jury. The audition consists o f two rounds. The first

round, traditionally held in September, consists o f an étude impose and one

of two compositions selected firom the standard repertoire for trumpet or

comet. The required list of materials for the audition is posted at the

conservatory in the final trimester of the preceding year. The jury chooses

one of the two selections firom the required repertoire to be performed. If

the candidate is successful in the first round, he/she is now eligible to

compete for one o f the openings in the class. The second audition takes

place approximately three weeks after the preliminary audition. This

audition requires a performance of a solo selected fi*om the standard

repertoire, performed in its entirety, in addition to sight reading. Located17

at le bibliotéque du conservatoire are records o f examination pieces for both

entrance to the conservatory and morceaux de concours. It is common for a

composer o f the morceau de concours to prepare the audition material for

the entrance exam, étude imposé et lecture â vue (sight reading).

In 1992, the entrance examination schedule in Paris changed slightly

to accommodate incoming candidates. Those qualified candidates wishing

to audition for a position at the conservatory had several obstacles to

overcome before coming to Paris. Lodging in Paris was difficult to find on

short notice after the audition in September and October, so the audition

dates were moved to late February and March to allow students ample time

in the summer to secure lodging. This change also allowed students access

to their regional instructors to prepare for the audition. Otherwise, students

were obligated to attended costly summer workshops.^* The one drawback

of having the auditions earlier, was that the conservatory was not certain as

to the vacancies it would have in each studio. I f successful, the students are

ranked and placed on a waiting list for any vacancies for the following year

(usually, the professeurs have a good idea who will receive a certificate and

move on). One advantage in auditioning earlier is that the students may re

audition in Lyons.

Once accepted to the conservatory, a placement examination is given

to each student. This examination is to determine his placement in solfège.

I f the examination is passed, no further study in that area is necessary, if not ' Susan J. Rekwark, The Horn at the Paris Conservatoire and Its Morceaux De Concours to

1996, (M-A.T. thesis. University o f North Texas, 1997), 18.18

the student will be placed in the appropriate class. Students enrolled at the

conservatory are required to continue their studies in analysis, chamber

music, orchestra, music history, and acoustics in addition to classes in sight

reading on their instruments. Once these studies are completed (usually at

the end o f the second year), students are required to pass an examination in

instrumental sight reading.^^ The remainder o f a student’s term at the

conservatory is devoted to mastering his/her instrument.

Le Conservatoire Supérieur de Musique de Paris has few

requirements besides those which the system automatically addresses. Age

requirements vary, depending on the instrument and physical maturity.

The following table lists age requirements for brass instruments:

Table I. Entrance Age Requirements for Brass Students”

Instrumental Minimum age Maximum age

Trumpet 14 25Horn 14 25Trombone 15 26Bass Trombone 17 26Tuba 17 26


” Ibid., Relôvark, 16, as found in Conservatoire National Supérieur de Musique de Paris, Règlement Portant Organisation de la Scolarité (Paris: Conservatoire National Supérieur de Musique de Paris, 1987), 4.

19

Currently, there are two trumpet/comet classes at the conservatory,

limited to twelve students each. The bylaws o f the Conservatoire National

Supérieur de Musique allow the admittance o f two international students to

each class. These students must meet the same requirements as the French

students and must undergo the same audition and examination process. The

culmination of each student’s study at the conservatory is the Concours de

prix, the final examination.

In 1992, Antoine Curé, professeur au Conservatoire National

Supérieur de Musique et de Danse de Paris, and Jean-Paul Leroy,

professeur à l ’Ecole National de Musique d ’Orléans, formulated a

systematic approach of study materials for the conservatory system. 10 Ans

Avec La Trompette is a collection of recommended literature for trumpet

and comet. The collection is divided into ten units of progressive study

beginning with the most elementary materials advancing to the pré

professionnel level. Within the ten units, the authors recommend a

grouping of three cycles:

Premier cycle: premier à troisième année

Deuxième cycle: quatrième à sixième année

Troisième cycle: septième à dixième année

The authors further recommend that the first year and the last year be

reserved for the most elementary and the most advanced players and the20

other units (2-8) be considered in groupings o f two, corresponding with the

four écoles and conservatories outlined by the Le Service de la Musique.

Each unit (year) is divided into nine categories:

1. Exercises e t méthodes: range studies, arpeggios, exercises, methods for beginners.

2. Etudes.

3. Recueils: collections with accompaniment, various composers.

4. Morceaux pour trompette et piano: short pieces, sonatas, morceaux de concours de Paris, etc.

5. Concertos pour trompette et orchestre: concertos and other works with orchestral accompaniment.

6. Trompette seule: unaccompanied trumpet.

7. Duos et ensembles de trompettes: duets and larger trumpet ensembles.

8. Notation nouvelle: a broad grouping o f works written since 1930 using unconventional notation, these works include études, solos, and duets.

9. Divers: other unclassified compositions, curiosities and an abundance o f treasures.^'*

Professeurs Curé and Leroy did not limit themselves to French

publications, but incorporated a variety o f first rate trumpet literature taken

from various sources. Each listing includes composer (or editor), title.

Antoine Curé, et Jean-Paul Leroy, 10 am avec la trompette. (Paris: Institut de Pédagogie musicale et chorégraphique la Villette), 3.

21

short description, and the name o f the publisher; also included is an

indication whether the a composition was used as a morceau de concours.

10 Ans avec la Trompette is a comprehensive course o f study for trumpet

and com et

Concours de Prix

At the conclusion o f study at the Conservatoire National Supérieur de

Musique is the annual competition known as the Concours de prix where

students from each class compete for the Premiér prix. From time to time,

upon the recommendation of a professor, a student will enter the

competition before his/her studies have ended. Traditionally, a solo is

commissioned for the concours. Le Morceaux de Concours is known as the

composition written for this competition.

The first Concours was held on October 24, 1797. Prizes such as

new instruments, musical scores, and laurel branches were distributed to the

successful participants. Today, the honor of winning and placing in the

competition is the only prize. The goal o f all students at the conservatory is

to attain the Premiér prix, thus insuring that student’s successful career in

music. Other levels o f recognition are granted by the conservatory.

Deuxième prix, Premiér accessit (first honorable mention), and Deuxième

assessit (second honorable mention) are reputable prizes. Participants who

do not complete their studies at the conservatory may compete again the

following year.22

The annual competition is held in June o f each year. Prior to 1970,

the Morceaux de Concours was the only required piece for the competition.

Since that year, the conservatory has changed its requirements to include a

second composition, in a contrasting style, selected from the standard

repertoire for the instrument. One reason given for this change was the

concern the concours were repeatedly written in a contemporary style. The

conservatory wanted a balance between contemporary (moderne) and a

more traditional (classique) style.^ The procedure was as follows: le

professeur du trompette submitted three compositions from standard

repertoire, and the directeur du conservatoire selected one of them.

Due to budgetary considerations, in 1979, the conservatory officially

decided to rotate the commissioned piece among the various instruments,

allowing each class to commission a piece every eight years. During the

other seven competitions. Le Morceaux de Concours is to be selected from

previous solos or other suitable literature. In 1985, the candidates, with the

guidance of the professeur, were allowed to select a solo from the trumpet’s

standard repertoire to be included in the competition.

For the year 1970, the writter discovered additional material written for the concours, found at le Bibliotéque du Conservatoire. The material was written in April and May indicating two cycles o f examination; the first cycle included a composition written in a modem style and the second cycle included transposition.

23

CHAPTERS

CREATION OF THE TRUMPET AND CORNET CLASSES

Trompette, The Formative Years

Although the class for trompette was generally not acknowledged

until 1833, there did exist two classes for trumpet as early as 1794 while the

school was still known as Institute National de Musique. By 1795, the

school was employing three trumpet teachers: François Guthmann,

Professeur première classe', Nicolas Vauchelet, Professeur première classe’,

and Gabriel Hardouin, Professeur troisième classe. Because the professors

were employed concurrently, their responsibilities also included that o f

teaching solfège along with other instructional duties. Conservatory records

indicate only one year, prior to 1833, when a trumpet class was taught

exclusively by a professeur de tr o m p e tte .The primary responsibility and

training for trumpet players, during this time, was to serve in the court and

the military. In 1800, due to financial restrictions, all trumpet positions

were eliminated in an effort to streamline operations at the conservatory;

there would be no instruction on trumpet until 1833.

In 1814, Sarrette was replaced as director by François Feme and, in

turn, replaced by Luigi Cherubini in 1822. During his term as director,

Cherubini created music conservatories in the French cities o f Lille,

Toulouse, Marseilles, and Metz. Cherubini also founded the Société desMaiy Gillian MacKay, Trumpet and Comet Concours Music at the Paris Conservatoire, 1835-

1925: The Development o f Styles and Roles, (D.M.A. thesis. University o f Illinois, 1996), 14-15.24

Concerts du Conservatoire^ later becoming the Orchestre de Paris in 1967/^

Cherubini reestablished the trumpet class in 1833 after numerous

inquiries and lobbying by a local trumpeter, Gambati^® (Gambati was one o f

two brothers who were employed by VOpéra I t a l i e n ) Cherubini

authorized a concours to hire a trumpet instructor, and François-Georges-

Auguste Dauvemè became the successful candidate.

Dauvemè’s tenure at the conservatory set the direction by which the

trumpet class was to be patterned for many decades. Dauvemè began his

musical studies with his uncle, Joseph-David Buhl, a respected Paris

musician. He began studying horn at the age o f twelve but soon switched to

trumpet. At the young age o f fifteen, after two years o f study, Dauvemè

secured a position with Musique des Gardes-du-Corps du Roi, the King's

mounted guard band.'*” Between 1821-1830 Dauvemè served with La

Musique de la Chapelle Royale and VOrchestra de VOpéra. In addition to

serving at the conservatory, Dauvemè was employed by the French

government to teach at the Gymnase M usical Militaire (1849-1855), a

school for military musicians, and served as Captaine de Musique de la

Garde Nationale (1848-1852).

Prior to Dauvemè’s appointment to the conservatoire, the trumpet


Mary Gillian MacKay, Trumpet and Comet Concours Music at the Paris Conservatoire, 1835- 1925: The Development o f Styles and Roles, (D.M.A. thesis. University o f Illinois, 1996), 16, quoting Archives national. File AJ/37/84/7r.

Ibid., MacKay, 11, quoting Lavignac, Albert, ed. Encyclopédie de la musique et dictionnaire du conservatoire (Paris: C. Delagrave, 1913-31), s.v. “La Trompette et le Cornef' by Merri Franquin,

" Ibid., MacKay, 17.25

had limited pedagogical and solo literature. It’s function was ordinarily in

military bands with a limited role in the orchestra. Natural trumpets were

primarily being utilized, although the new piston instruments were under

development. We acknowledge the works by J.S. Bach, written for natural

trumpet in the clarino register, and the concertos composed between 1740-

1770 by Johann Fredrich Fasch (1688-1758); Georg Philipp Telemann

(1681-1767); Johann Melchior Molter (c 1695-1765); Leopold Mozart

(1719-1789); and Johann Matthias Sperger (1750-1812). These works are

dwarfed by the abundance o f concerti and studies written for other

instruments. Concerti for keyed trumpet by Haydn (1796) and Hummel

(1803) were composed for the keyed trumpet player, Anton Weidinger

(1767-1852). Weidinger’s repertoire included works by Leopold Kozeluch

and Joseph Weigl.*"

Dauvemè was charged with creating pedagogical material for the

trumpet as well as composing solo literature as prescribed by the annual

concours held at the conservatoire. The first concours pour trompette was

held in 1835, allowing the professor and his students two years of

preparation.

It was François-Georges-Auguste Dauvemè that ushered in the era of

the modem trumpet at the conservatory. The piston trumpet met with some

indignation and skepticism when first introduced to the performers and

orchestras o f the mid-nineteenth century. New in its concept and design.

Edward Tarr, The Trumpet, (Portland Oregon: Amadeus Press), 1988, 151.26

the early piston trumpet had many flaws which many musicians were eager

to point out/^ Edward Tarr credits Dauvemè for introducing the piston

trumpet to VOpéra. 1827 marked Dauvemè’s first use of the two valve

piston trumpet in an unsuccessfiil production o f Chelard’s Macbeth. Other

works in Paris which utilized the experimental piston trumpet were

Berlioz’s Grand Overture Waverly (op. 1, 1828), the overture to Les jrancs-

juges (op. 2, 1828), Rossini’s Guillaume Tell (1829), Halèvy’s La Juive

(1835) Q ndM syeT bQ Q T 's Les Huguenots (1836).'*^

According to MacKay:

The period between 1826-1861 was characterized by the presence of two trumpets for each player, one chromatique and one simple, and a collection of crooks which would fit either instrument. The choice of instrument was based on the nature of the upcoming passage.'*'*

Various other trumpets were utilized during Dauvemè’s tenure. The

slide trumpet was undoubtedly taught in the trumpet studio at the

conservatory as indicated in the concours review of 1845, indicating

successful performances by the students o f Dauvemè. The natural trumpet,

trompette d ’ordonnance (most favored in the early years), and the stopped

trumpet, trompette d ’harmonie, were also taught and performed upon by

Dauvemè and his students.4 2

4 3

4 4 -

Early piston instruments had many intonation problems and inadequate timbrel uniformity. Edw'ard Tarr, The Trumpet, (Portland Oregon: Amadeus Press), 1988, 163.Mary Gillian MacKay, Trumpet and Comet Concours Music at the Paris Conservatoire, 1835-

1925: The Development o f Styles and Roles, (D.MA. thesis. University o f Illinois, 1996), 38, quoting Lavignac, Albert, ed. Encyclopédie de la musique de dictionnaire du conservatoire (Paris: C. Delagrave, 1913-1931), s.v. “La trompette et le cornet" by Merri Franquin, 1607.

27

During the early years o f the conservatoire, les professeurs were

called upon to compose the literature used for the concours and to provide

study material for their students. The opportunity to shape the future of the

trumpet studio and create a firm pedagogical foundation fell upon

Dauvemè. Throughout his tenure, Dauvemè composed all the morceaux de

concours pour trompette used for the competition, in addition to various

etudes and methods to be used in his classe. After his retirement, in 1869,

Dauvemè’s solos were used by Jules Cerclier, professeur de trompette

(1869-1894), for seventeen additional concours.

Although a great pedagogue during his tenure at the conservatory,

Dauvemè was limited by the development and the acceptance of the piston

valved trumpet. A majority of the compositions written by Dauvemè were

written for trompette d ’ordonnance and a two valved trumpet in fa, which

Dauvemè help developed with instrument maker Antoine Halary.'* In his

usage o f the two valved instrument, Dauvemè elected to sacrifice portions

o f the low register for better tone quality and intonation; this problem also

existed on the tubular three valve system first developed by Stoelzel in

Pmssia.

Upon the retirement of Dauvemè, Jules-Henri-Louis Cerclier (1823-

1897) was appointed the professeur de trompette and given the unenviable

task of replacing the founder o f the trumpet studio. Well familiar with the

conservatory system, Cerclier had studied with Dauvemè, and entered the

Edward Tarr, The Trumpet, (Portland Oregon: Amadeus Press), 1988, 158-164.28

trumpet concours in 1844 to win accessit, 1845, deuxième prix', and in

1846, completing his studies by winning the Premiérprix.*^

Cerclier meet great challenges upon his appointment to the

conservatoire. Cerclier’s tenure at the conservatory (1869-1894) marked

numerous changes to the conservatory’s implementation o f le classe du

trumpet et comet, and 1869 was the year the com et à piston class was begun

by Arban. Now, students at the conservatory had a choice between two

separate classes, one trompette and one comet. Although Cerclier was well

respected as a performer and pedagogue in France, his reputation fell short

behind that o f the charismatic Arban, a virtuoso cometist with worldwide

recognition. Between 1869 and 1880, only two students were awarded the

Premiér prix pour trompette'. Charles Ferdinand Dubois, winner of the 1969

concours was a student o f Dauvemè for half a year prior to Dauvemè’s

retirement, and Pierre Renard received the prize in 1880.

Cerclier wrote only three compositions for the concours'. Fantaisie

used in 1875; Solo de concours, used in 1883, 1887, 1888, 1892, 1894; and

Premiér solo en mi used in 1884. Besides the solos written by Dauvemè,

only one other composer was commissioned to write for the concours

during Cerclier’s tenure. Charles Ferdinand Dubois wrote L ’Éclatante

Fantaisie in 1891. Cerclier’s contribution to the studio at the conservatory

was viewed as static, only to maintain the status quo.“’

Mary Gillian MacKay, Trumpet and Comet Concours Music at the Paris Conservatoire, 1835- 1925: The Development o f Styles and Roles, (D.M_A. thesis. University o f Illinois, 1996), 25.

" Ibid.29

Needed changes in the quality o f the students, and improvements to

the trumpet studio led Merri Franquin, professeur de trompette (1894-

1925), to take a different approach; he commissioned nineteen different

solos by seventeen composers over his thirty-one year tenure as professeur

du conservatoire.*^ Franquin is recognized as a pedagogical author and

teacher, providing a well-known method, which he used to cultivate growth

in students of his studio. Not a student of the trumpet class, but receiving

his training primarily with Arban, Franquin was not held back by the

methodology and traditions which had been established by Dauvemè and

continued by Cerclier. Coming from the comet tradition, Franquin set out

to improve the solidarity of the trumpet studio, popularize the trumpet, and

provide substantial literature for that instrument. Prior to Franquin’s

appointment, the repertoire resulting from the concours was both limited in

technical challenges and variety of form.

Experimentation with trumpets continued during the Franquin years.

Although all types o f trumpets were taught in the trumpet studio, it was the

chromatic piston trumpet in fa which dominated the concours. Training in

all instruments gave the conservatory students a first hand familiarity with

the instruments and the repertoire for which they were originally intended.

Trompette modems (piston trumpet in C) began development in the 1850s

and made its way into l ’Opéra in 1874 but was not generally accepted in

the conservatoire until much later. An experimental trumpet in C with five“ Mary Gillian MacKay, Trumpet and Cornet Concours Music at the Paris Conservatoire, 1835-

1925: The Development o f Styles and Roles, (D.M.A. thesis. University o f Illinois, 1996), 33.30

valves, developed by Franquin after the First World War, was used in the

concoKTs between 1917 and 1920. This five-valved trumpet was produced

to help facilitate passages in the lower register, a shortcoming of the shorter

C trumpet. Although some problems were resolved with the development

o f the five-valve C trumpet, others were created, and the conservatory

eventually settled on an improved three-valved instrument in both C and

Bb.

31

Cornet à piston

The first professeur de cornet^ Joseph-Jean-Baptist Laurent Arban,

was the product o f Dauvemé’s trumpet studio. Arban was bom at Lyons,

France, February 28, 1825, and died in Paris, April 9, 1889. He entered

the Paris Conservatory at the age o f 16 and studied there for four years

(1841-45). He won deuxième prix on his first attempt at the concour in

1844 and Premiér prix in 1845, each time finishing one position ahead o f

Jules Cerclier. After leaving the conservatoire, Arban was engaged as a

leader of Parisian salon orchestras and in 1857, served as professeur de

saxhorn at the Ecole Militaire, remaining in that position until his

appointment to the conservatoire. During the time Arban left the

conservatory and returned as its first professeur de comet, he had

established himself as a virtuoso comet soloist.

The comet made its first appearance on the Paris musical scene in

the late 1820s, early 1830s, when a musician by the name of Dufi*éne

introduced it at Le Concerts des Champs-Elysées. A pair of comets were

introduced to the l ’Opéra and placed into service in Rossini’s William Tell

(1829), Auber’s Le Dieu et la Bayadere (1830), and Meyerbeer’s Robert le

Diable (1831)/* This innovative double piston-valved instrument was

pitched in Bb. During its early development it presented challenges to its

players. As with its double piston valved cousin, there remained various

” Robert M. Hazen, “Parisian Comet Solos o f the 1830s and 1840s: The Earliest Solo Literature for Valved Brass and Piano,” International Trumpet Guild Journal, Volume 19, No. 4, (May, 1995): 35- 38.

32

gaps in its execution o f fully chromatic passages. Similar to the piston

trumpet, the three-valved comet inherited intonation and timbrel problems

with depression o f the third valve. The comet was much more easily

accepted than the piston valved trumpet and was quickly improved upon

because it was viewed by musicians and craftsmen as a uniquely new

invention, without tradition.

By the 1840s, the three valved piston comet was well on its way to

becoming the preferred instrument of the brass virtuoso. Arban took full

advantage o f this improved fully chromatic instrument and set out to make

a name for himself as a comet virtuoso, although he did have a few

challenges. Not only did Arban battle with the public’s unfamiliarity of the

instrument, but literature for the comet had not yet been written. Much as

Dauvemé created the literature for the trumpet, Arban began to constmct

the groundwork for comet literature.

Arban was not alone in the development o f literature for the comet.

Several composers sought to increase the comet repertoire by authoring

various compositions and variations based on previously written material.

Joseph Forestier (1815-1867), composer of the 1891 morceau de concours,

wrote over 20 solos and duets for the comet. Schiltz, a member of the

l ’Opéra, is known to have composed three comet/piano works and a set of

six grand duets. His compositions for comet include: Fantasie sur l ’opéra

la favorite de G. Donizetti pour cornet à 2 ou à S pistons, Fantasie pourNo given name was found for this composer. In Robert M. Hazen’s article, he states that

records at the Paris Opera and other discovered compositions only list him as Schiltz.33

piano et com et à pistons sur les motifs de La Part du Diable, Opera de

D.F.G. A u h erf Other compositions, mostly variations and fantasies,

based upon orchestral works, were written for comet during the

development years.

The first request for a comet class came firom Guilbaut, a professeur

de Conservatoire de Gap, a conservatory in southem France. His letter of

inquiry, written in 1861, made its way to the conservatory’s director,

Auber, by way of the Minister of State. Auber rejected the request stating

that many of the day’s comet virtuosos emerged by studying various other

brass instruments at the conservatory (hom, trombone, saxhorn, trumpet);

therefore, no additional classes were needed. It was Auber’s argument that

the instmction received on other instruments at the conservatory was

adequate to be successful on comet. Arban championed the cause in 1868

with a letter to Auber stating the various reasons the comet should be added

to the classes at the conservatory with the formative argument that

composers were writing primarily for the comet, being the more versatile

instrument.^^ Arban pointed out that Auber himself was to be placed in the

same category, having on numerous occasions written for comet.

Arban’s persistence paid off and, in January o f 1869, the comet class

was established. Arban’s first proposal to Auber was to combine the

" Robert M. Hazen, “Parisian Comet Solos o f the 1830s and 1840s: The Earliest Solo Literature for Valved Brass and Piano,” International Trumpet Guild Journal, Volume 19, No. 4, (May, 1995): 35- 38.

Kristine Klopfenstein Fletcher, The Paris Conservatoire and the Contest Solos for Bassoon, (Bloomington: Indiana University Press, 1988), 44, from, Jean-Baptiste Arban, Paris, to Daniel Auber, Directeur du Conservatoire, Paris, 2 Nov. 1868, in the Archives national, paris, AJ/37/84.

34

trumpet and comet students to form one class (üauvemé was due to retire

that very year). Auber and the administration at the conservatory proposed

to form three independent classes. Arban was selected to teach the comet

class, with a salary of 1200 F/year; Jules Cerclier was to replace Dauvemé

and teach the trumpet class at a salary o f 600 F/year; Henri Maury was to

teach the military saxhom class, left vacant by Arban, at 1200 F/year. The

salaries were an indication o f the importance o f each class. The saxhom

class was dissolved in 1870 when the military school was closed due to the

Franco-Prussian War; the comet and trumpet classes continued.^^

It was the efforts o f Joseph-Jean-Baptist Laurent Arban that would

allow literature for the com et â piston to transcend into the age o f the

virtuoso player. From January of 1869 through May of 1874, Arban

continued as professeur de comet. His compositions and arrangements for

the morceau de concours were exclusive during his first tenure.

In May of 1874, Arban resigned his position as professeur de com et

in pursuit o f a professional career in conducting and performance. He had

already taken a leave of absence fi-om the conservatory to travel to Russia

on a concert tour the previous summer, but his absence and a lack of

continuity did not permit a further sabbatical. Arban retumed to St.

Petersburg, and Jacques-Hippolyte Maury was named his replacement.

Maury was a student at the conservatoire on hom and solfège. He

was awarded two prizes in solfège and three on hom, completing his studyMary Gfllian MacKay, Trumpet and Comet Concours Music at the Paris Conservatoire, 1835-

1925: The Development o f Styles and Roles, (D.M.A. thesis. University o f Illinois, 1996), 43-47.35

with a Premiér prix in. 1849. It was not until a few years after leaving the

conservatoire that he was employed by the Orchestre du Théâtre Lyrique

and at l ’Opéra as a cometist. Maury was professeur de saxhom for the

École Militaire, connected with the conservatoire, and was assistant director

o f music for the Garde Répuhliciane band.*'* Unlike his counterpart

Cerclier, Maury sought to leave a distinctive influence upon the concours

during his tenure. Between 1874 and 1880, Maury wrote four morceaux de

concours pour comet. The 1874 concours was a repeat o f Arban’s

Deuxième solo, most likely chosen because o f Arban’s late departure, and

the 1879-1880 the morceau de concours., Concertino, by Léonce Cohen, the

first composer outside the comet or trumpet studio to write for the

concours.

Due to ill health, Maury was forced to retire in October of 1880 and

the comet class was taught by Teste ** for the remainder of the year. Teste

had been 1er com et solo du Guides de l ’Empereur in the 1850s and played

principal trumpet at l ’Opéra and la Société des c o n c e r ts .Teste had never

been a student at the conservatoire and did not make a significant

contribution to the trumpet studio during his tenure of just a few months.

Arban retumed for the remainder o f the 1880-1881 season, and Maury died

in October o f 1881 fi-om his extended illness.

Arban continued to write in his usual style through three of the next

Mary Gillian MacKay, Trumpet and Comet Concours Music at the Paris Conservatoire, 1835- 1925: The Development o f Styles and Roles, (D.M.A. thesis. University o f Illinois, 1996), 48-49.

No surname or biography was found for Teste; temporary replacement for Maury.Alexander Petit, Grande méthode de comet â piston (Paris: E. Gaudet, 1913), 19.

36

morceaux de concours, adapting two compositions by Jean-Louis Tulou:

Fantaisie sur Actéon (1881) and Fantaisie sur un thème de Mercadante

(1883). Arban then turned to a suite o f original etudes found in a collection

o f 12, entitled Série d ’études d ’exécution et du style, utilizing various

studies undoubtedly written for his studio. Arban remained as professeur de

com et du conservatoire until his death in 1889.

The unenviable task o f following Arban was left to Jean-Joseph

Mellet. Mellet was no stranger to the halls o f the conservatoire. He was a

former hom student of Jean-Baptist-Victor Mohr (1864-1891), winning

prizes on that instrument in 1867 and 1868; and in 1869 he had the

distinguished honor of being the first to win the Premiér prix on comet

under the instruction of Arban.®’ Mellet served as a cometist in various

orchestras throughout Paris, including Concerts Musard, le Folies-Bergères,

l ’Opéra, et le Théâtre Italien. Mellet served as professeur de com et du

conservatoire for 21 years (1889-1910).

Arban, Maury, and Mellet laid the foundation of the comet studio.

Those professeurs who followed, continued the the traditions and expanded

upon requirements for the Morceau de Concours for the years to come.

” Susan J. Rekward, The Horn at the Paris Conservatoire and its Morceaux de Concours to 1996, (MA Thesis, University o f North Texas, 1997), 39.

37

CHAPTER 4

COMPARATIVE STUDY OF THE Morceaux de Concours

Throughout the history o f the morceau de concours, there have been

stylistic changes and various requirements mandated by the conservatory’s

directors and professeurs which have changed the manner in which the

concours were implemented. Within this chapter, the writer will analyze

selected compositions and form a comparison o f the morceaux de concours

written in the twentieth century, and the influences upon them.

Representative compositions will be selected to present trends,

compositional style, technique, and general difficulty o f the concours

written for trumpet and comet. Listed will be the date in which the

composition was commissioned or selected, composer (dates), title,

instrument and accompaniment, editor, written documentation indicating

authenticity of the concours, and any dedication rendered by the composer.

(The above information will be displayed as viewed on the original

manuscript or the printed copy which was viewed fo r analysis). Degree of

difficulty will be based upon the European classification system: 1,2,3 —

easy; 4,5,6 — moderately difficult; 7,8,9 — difficult to very difficult. An

example of the document, brief biography o f the composer (when

available),*® and brief description of the piece will be provided. Additional

information about the composer, state of the conservatory, professeur de

' Biographies were not available for all composers of the concours.38

trompette, will be included if deemed necessary to communicate the opinion

o f the period or the style in which the music is written.

In her document. Trumpet and Com et Concours, Music at the Paris

Conservatoire, 1835-1925; The Development o f Styles and Roles, Mary

GiUian MacKay documents stylistic characteristics o f the morceau de

concours pour trompette et com et through the tenures of Franquin

{trompette) and Petit (comet). Although my survey may overlap the first

few years o f the 20th century, this writer feels it is imperative to include

examples o f Arban, Dauvemé, and other early composers of the morceau de

concours to furnish a comprehensive view o f the development of solos

written for the contest.

Since the first Solo de Concours, written for the trumpet concours in

1835, each professeur had certain goals in mind. Throughout the history o f

the concours for various other instruments at the conservatoire, the format

for the contest was to include a required solo, such as a movement o f a

concerto or aria. With the exception o f a few concerti, written for the

keyed trumpet, no such material existed for piston trumpet; and the natural

trumpet was not viewed as a solo instrument. François-Georges-Auguste

Dauvemé’s charge was to develop repetoire that invoked specific

pedagogical issues relevant to his class.^®

François-Georges-Auguste Dauvemé’s morceau de concours outlines

specific characteristics in his style o f composition.” Mary Gillian MacKay, Trumpet and Cornet Concours Music at the Paris Conservatoire. 1835-

1925: The Development o f Styles and Roles, (D.M.A. thesis. University o f Illinois, 1996), 18.39

1. Choice o f form and characteristics of melodic style.

In this case, form refers to the general organization o f a composition

and not to motivic or harmonic development. Dauvemé’s primary

considerations were the requirements of the concours (this essentially

became the theme by which the concours were composed and

commissioned). The morceau de concours should contain elements o f style,

technique, and general musicianship which would best exhibit the student’s

abilities. These considerations would change through the years,

accommodating the demands set upon the players and the development of

techniques related to the improvement in the quality o f the instruments.

The forms which Dauvemé most often used were theme and variation

or a fantasy-style form. His theme and variation presented first a melody,

usually very familiar and lyric, followed by various modifications to that

melody. Each variation became increasingly more complex than the

previous one, exhibiting the player’s overall abilities. Furthermore, each

variation was demarcated by various means: cadence, interlude, fermata,

change of meter or tempo. The fantaisie embraced various melodies in a

rather loosely structured form. Individual sections included change of

meter, usually duple to triple, increasingly more difficult exploiting the

student’s technique and range.

Dauvemé’s use of lyrical or cantabile-style was very limited; his

music usually contained a more bravura or fanfare style. Due to the limited

employment o f the trumpet in solo performance, the literature written for40

that instrument, during this time, reflected its use, more as an orchestral-

harmonic instrument. As improvements to the new chromatic trumpet

continued, composers began to realize the potential of the instrument and

began to write more melodically with pedagogy practices soon following

suit.

2. Use of idiomatic trumpet gestures; specific types of rhythmic

motives used throughout the early history of the concours.

Dauvemé was very specific in his use of “trumpet gestures.”®®

Idiomatic to Dauvemé’s style were his specific instructions and markings of

articulation. He was also very consistent in his usage o f defined

articulation, almost to the point that every note was to be dictated as the

composer intended.

1835Dauvemé, François-Georges-Auguste Difficulty: 3

Example 1

Premiér Solo de Concours

IT V4U .

aolct.

“Trumpet gestures” is a term M.G. McKay uses to describe Dauvemé’s use o f articulation maridngs and specific instructions of interpretation.

41

Between 1869 and 1894, the trumpet studio was placed in a state o f

stagnation. It was Jules Cerclier who continued the traditions o f the

Dauvemé studio. Cerclier made little change to the status quo, only to

continue to utilize the solos and studies written by Dauvemé. There were

four exceptions o f morceau de concours utilized during the Cerclier years:

three solos written by the professew\ Fantasie (1875), Solo de Concours,

(1883-87-88-92-94), Premiér Solo en mi majeur (1884), and one written by

Charles T>vibo\s, L ’Éclatante Fantaisie (1891) .

Only one o f Cerclier’s students was chosen to receive the Premiér

prix Charles Dubois (1869), during the first ten years o f his appointment.

Nine additional students received the Premiér prix between 1880 and 1894.

The morceau de concoitrs o f Jean-Baptiste Arban took on the strength

and virtuoso personality o f the professeur. Arban’s professional career

undoubtedly influenced the structure and focus o f his comet studio. The

comet class was, in a sense, a by-product o f the trumpet class, but the

instrument was allowed to take on a different personality and a varied role

in the musical community. There was no preconception as to the history or

role of the instrument, since the comet â piston was considered a new

invention to the 19th century.

Prior to his appointment to the conservatory, Arban had already

popularized the comet and had begun to write arrangements and studies to

accommodate the demand. Other composers had also realized the potential

o f the com et â piston as a melodic instrument, utilized in the orchestra, as42

well as that o f a solo instrument. Arban set out to keep the comet in the

spotlight and immediately began to develop his own pedagogical style of

instruction and virtuostic manner of composition. From the start, Arban

had high standards and expectations for the students o f his studio. His

students immediately began to receive recognition in the concours. In

1869, four students from Arban's class received the accessit et prix, and

Jean-Joseph Mellet was the winner of the Premiér prix.^^

Arban’s style was much more aggressive and virtuostic than that of

Dauvemé. The solos written for the concours were meant to stand on their

own as a performance piece rather than a composition written specifically

for a contest. His goal was to prepare his students for a professional solo

career and, therefore, their level of performance outdistanced that o f the

students in the trumpet studio.

Arban’s form was not unlike that o f Dauvemé, although his solos

were exceedingly more complex and technical. His favorite form during

his early years was that o f the theme varié, although the fantasie was also

utilized. Typical o f the fantasie/theme varié is Caprice et Variations.

“ Maiy Gillian MacKay, Tnmpet and Cornet Concours Music at the Paris Conservatoire, 1835- 1925: The Development o f Styles arui Roles, (D.M.A. thesis. University o f Illinois, 1996), 107.

42

1870Arban, Jean Baptiste (1825-1889) Caprice et Variationspoor Comet à piston avec accompagnement de Piano Carl Fischer, New York Difficulty: 4

As with most o f Arban’s solos. Caprice et Variations begins with a

piano introduction in fanfare style. The first theme is introduced and is

immediately embellished, this theme is not usually used as the principle

theme in his variations (2-a). Many of Arban’s solos begin in this manner:

a theme, sometimes simple, sometimes complex, usually very rubato with

an occasional fermata.

Example 2-a

AadüEtinù ;J W-

J , B . Arban

Wb-W 'j k.-. Ic-

44

Theme no. 2 is simply stated in duple meter. This second theme is

set to variation, so its statement is straight forward, with little

ornamentation and only one variance in tempo, although it is understood

that there should be artistic freedom (2-b).

Example 2-bAndante m ocerstn * - s:

D

a f-75100

-.raiL■ ' as

1 ..w

In strict tempo, the theme is transformed to a flowing melody in a

triplet rhythm with every articulation very carefully notated (2-c). Prior to

this variation, Arban wrote an eight bar interlude in order to give the

performer an opportunity to rest.

45

Example 2-cVar. I

. M le g w nioGcrafc»,,

V

:é»—-3 -.

«rrrf

:%r:

'. -:^«-: :3; »'?0-

r

Although not indicated on the part, variation II is a double tonguing

passage, allowing the performer to exhibit this specific technique. Again,

articulation and dynamic markings are carefully written into the music, and

the tempo is consistent (2-d).

Example 2-d

The final variation is an exercise in triple tonguing with accents on

notes which outline the main theme (2-e). Solos of this vintage usually46

exploit the extreme technical abilities o f the performer. They often will

end with a cadence on the tonic with an option to demonstrate the

performers extreme range.

Example 2-e

Yatm PÎÙ lento

The morceau de concours o f Arban demonstrated the abilities o f his

students and the agility o f the instrument. During his second tenure at the

conservatoire, Arban was a bit more conservative in his choice o f material

and composition.

47

1902d’Ollone, Max (1875-1959) Solo de Trompette en Fapour Trompette (Ut ou Si bémol) avec accompagnement de Piano Éditions Alphonse LeducConcours du Conservatoire National de Musique de Paris Difficulty; 3

A prolific composer, conductor, and writer on musical subjects, Max

d’Ollone won the Grand Prix de Rome in 1897. Hill speaks o f d ’Ollone as

an example o f “Massenet’s pervading vitality as a teacher, especially in

connection with opera.”® D ’Ollone was a professor at the Conservatoire and

was active as an opera conductor in Paris and the French provinces. He

wrote five operas, a fantaisie for piano and orchestra, chamber music,

among many vocal pieces.

The title for this piece has appeared in two configurations. Solo de

trompette, and Solo de trompette en fa . This piece was most likely written

for trumpet in F, although all the manuscripts found were transposed for Bb

or C trumpet. Solo de trompette en fa begins in the key of F minor in a

fanfare like quality, determined and bold "Allegro moderato ma ben diciso ”

(3-a). D ’Ollone is careful to give the accompaniment equal integrity with

much interplay and imitation between the two instruments. A Bien chanté

section brings about a more tranquil, subdued flavor in D Major. The piano

provides a steady foundational triplet figure, allowing the trumpet solo to

explore and develop the melodic line.

Harry R. Gee, Clarinet Solos de Concours, 1897-1980: An Annotated Bibliography. (Bloomington: Indiana University Press, 1981), 35. quoting Edward B. Hill, Modem French Music QAew York: Da Capo Press, 1924), 187.

48

Example 3-a

n i a J»eii f îc c if to

--------- - 1 - — - ' —— - -* r — ■ ... ■ , ■■ ■ — ■>- ■ - —— - - r -

—tr-^-cz ;r.:-"r_ zz=rbq=__L-'- '- ^ - - t f i - ^ . 1 f - — ----------- —* - —— k ^ - j— "■ y - " ' --------- ÿ '

mr*

The Poco piu Allegro is the final section to this solo. The triplet

figure, introduced by the piano in the Bien chanté and imitated by the solo

toward the end of that section, is continued with more authority in the

closing section, now in the key of F Major. B rief hints o f the opening

statement are alluded to in this closing section with much authority and

straight forwardness. The piece ends with an Allargando, in a C half

diminished chord to the tonic.

Example 3-b

^ T t i ' - i i j r i V ; ^ J

p • '

al:*-;

This piece is typical o f the literature written for trumpet during this

period. It is a bit less virtuostic than comet solos o f the same vintage,

offering little compensation in melodic or rhythmic diversity.

49

After 1895, when Merri Franquin’s commission began, the concours

for trumpet began to take on his criterion. The folowing is an example of

what was e^gected of his studio.

1903 (1915-I92I-1925)Savard, Marie Augustin (1861- Morceau de Concourspour Comet à piston et PianoÉditions Musicales Alphonse Leduc, 1955Concours de Conservatoire National de Musique de ParisDifficulty: 4

Marie Emmanuel Augustin Savard was bom in Paris on May 15,

1861, and entered Le Conservatoire National Supérieur de Musique de Paris

1880. She won the Prix de Rome in 1886 and went on to be director of the

Lyons Conservatory.®^

Morceau de Concours begins in the key of Bb minor in a very

dramatic, sober, “recitative ” style. It develops into a quasi cadenza, “Très

librement en pressant un peu les triples croches, ” with a recommendation to

press forward, the 16th-note triplets (Example 4-a shows a sampling of

quasi-recitative style found in many of the early concours). A 3/4 section,

“Tres modéré”, sets off the next passage in a leisurely fashion. The

accompaniment introduces this Db Major section in a quarter note

syncopation. Contrasts in dynamics, ebb and flow, proliferate this section.

Robert Dale Olson, “The Development o f Modem Solo Trumpet Literature as Traced Through The Morceaux de Concours at the Paris Conservatory. " (Denton, Texas: North Texas State College, 1957), 116.

50

concluding with a ritardando.

Example 4-a

f r - - ' è il> rfî»> n f An t in y-c-i; j r i p l , < h r

'MKIKl

ri-lmrz; r-i;

r rtiU- C '» '5 C -

A "Très v i f ’ tempo, three times the pace o f the previous section,

follows the modéré section. The solo and accompaniment remain

comparatively simple yet much faster. Midway through this section, the

key of Bb Major is introduced. The solo begins to present some virtuostic

challenges in rapid multiple tonguing passages and difficult eighth note

runs. This section concludes in a "Presto " ending with a strong dominant

to the tonic Bb Major chord.

This solo may present some challenges to the turn of the century

trumpet player but would be considered to be o f medium difficulty by

today’s standards. The morceau de concours by Savard was selected as the

contest solo for several additional years, 1915, 1921, and 1925. Apparently

Alexandre Petit (1911-1925) deemed this morceau de concours worthy of

revival through the first quarter o f the century and throughout his tenure at

the conservatoire. The example is typical of a comet solo of this vintage.

51

1905 (1917-1924-1930-1945)Dallier, Henri (1849-1943) Fête Joyeusepour Trompette Ut ou Si bémol et PianoÉditions Alphonse Leduc, 1957Concours du Conservatoire National de MusiqueDifficulty: 4

Henri DaUier was bom in Rheims on March 20, 1849, and died in

Paris on December 23, 1943. He was an outstanding organist, composer,

and teacher. After having studied at Le Conservatoire National Supérieur

de Musique de Paris with Cedar Franck, he was appointed organist at the

Madelein and, later Professeur de Harmonie at the conservatory.®"*

As indicated by the title, this composition begins in a very festive

style with an introduction o f short fanfares, typical of an introductory

passage of solos of this vintage (5-a). The “Allegro deciso” marks the

presentation o f the first theme in the key of C Major. This theme

continues to be marked by a festive flavor until a key change proceeded by

an Allargando delivers the piece to a slower tempo and into a C minor

mode. The melody becomes more lyrical while the accompaniment

continues an underlying rhythmic motive found at the beginning of the

composition. There is a brief development marked by changes of

dynamics, tempo, and length o f notes. After distinct modulation, Dallier

returns to the tonic key incorporating chromatic and arpeggiated passages to

generate energy and exhibit virtuosity and agility (5-b).

Ibid., Slonlmsky, 495.52

Example 5-a

Example 5-b

g i W —----------------------------- ,

Rk:? - - V-.rr y.r:. ~ . f ■ •j-bcra’irt . _ .

5q-

S zLa Trriup^tt»: p-î-st vr r'.v‘ -î-r

•îitr e<f ? w .

V ,^c.,-.—. . ■— - - — .1 — --*■ I . % w 4 wii" —f.---------- - —.. . — . ■ - « — i — I— — J !■ I f ^ —

'•‘J

Fête Joyeuse does not follow traditional classical forms, but serves

to expose the performer’s technical ability. This is certainly a progressive

piece for the time and enjoyable to play. This composition was also

selected for the 1917, 1924, 1930, and 1945 morceau de concoitrs. Passing

the test o f time. Fête Joyeuse was utilized by three of the conservatory’s

professeur de trompette, Franquin (1894-1929), Pierre-Joseph Vignal

(1929-1941) and Eugene Foveau (1925-1955; 1941-1955).®^ Foveau taught

both trumpet and comet students.

“ From 1941-1955, Foveau taught both trumpet and comet students.53

1912 (1917)Cools, Eugène (1877-1936) Solo de Concourspour com et S i b et PianoÉditions Musicales Alphonse Leduc, 1958Concours du Conservatoire National Supérieur de MusiqueDifficulty: 4

Eugene Cools was bom in Paris, March 27, 1877, and died there in

August 5, 1936. He was a pupil of Gédalge, Faure, and Widor at Le

Conservatoire National Supérieur de Musique de Paris.^^ Cools won the

Prix Cresent for his Symphony (1906) and was assistant to Gédalge at the

Conservatory (1907-1923). He taught at the Ecole Normale de Musique

(1919) and was music critic for Le Monde Musical. In 1928, he was

appointed editior in chief for Max Esching, a Paris music publisher.®’

Solo de Concours pour Comet S i b et Piano begins with a

commanding sustained C dominant chord firom the piano, allowing much

melodic and rhythmic fireedom to the solo comet player. This develops into

an exchange between the accompaniment and the comet, eluding to the

tonic o f F Major. The “Andantino quasi Allegro, ” in Db Major, breaks up

the agitated exchange, and allows the piano to slip into a subdued

accompaniment role o f extended arpeggios while the solo unfolds a folk

like melody which continues for 58 measures. An “Allegro moderato”

concludes the composition in a light display o f agility and multiple

* Robert Dale Olson, “The Development o f Modem Solo Trumpet Literature as Traced Through The Morceaux de Concours at the Paris Conservatory. " (Denton, Texas: North Texas State College, 1957) , 109.

Nicolas Slonlmsky, editor, Baker’s Biographical Dictionary o f Musicians, Seventh Edition (New York: Schirmer Books, 1984), 495.

54

tonguing with, a return to the tonic key.

Example 6

SO L O D E C O N C O U R SC O I tS e V Sl V I A S O

€h>olsOP.xi

lé =-i

m

\u*taQl(U«k- AHrgft#»# Z IfiJ't

IftC ..

The composition by Eugène Cools seems to be typical for this period

of history for the conservatory and the tenure o f Alexandre Petit (professeur

1911-1925). The piece begins with a fanfare like introduction, followed by

55

a lyrical section and concludes with a section which exploits the technical

ability o f the performer. This solo was again used in 1917 for the comet

concours.

1913Balay, Guillaume (d. 1943) Pièce de Concourspour Comet à piston en Si b avec accompagnement de Piano Éditions Musicales Alphonse Leduc Concours du Conservatoire National de Musique de Paris Difficulty: 4

C hef de Musique de la Garde Républicaine, Guillaume Balay is well

known among trumpet teachers and students alike. Besides Pièce de

Concours, Balay has contributed many outstanding compositions for

trumpet and comet, such as Petite Pièce Concertante, Prélude et Ballade,

and Andante et Allegro.

Pièce de Concours, written for the 1913 Concours, begins with an

extended cadenza/introduction. Obviously written to exhibit the

performer’s technical and musical maturity, the opening measures challenge

the performer’s agility and timing in a open cadenza-like forum. The

accompaniment adds to this vigorous opening by creating agitation through

syncopation and a plethora o f 16th notes, almost ostinato like rhythms over

a relatively calm melody (7).

56

Example 7

The theme is introduced in the “Allegro” section with a playful

melody anticipating the works o f Clarke. The melody, with simple

accompaniment, is briefly developed, transporting it through a cycle of

modulation ending in Ab Major. A brief lyrical section follows with the

new key transporting the solo back to the theme found in the “Allegro”

section, back to the original key of F Major. After a short recapitulation of

the theme, Balay incorporates a vivacious coda with a burst o f energy and

technical flurry.

Pièce de Concours was only selected once to be played as the

Morceau de Concours although Balay was commissioned to compose Petite

Pièce Concertante for the 1919 contest.

57

1914 (1945)Delmas, Marc (1885-1931) Choral et Variationspour Trompette et Piano Gérard Billaudot ÉditeurMorceau de Concours du Conservatoire National Supérieur de Musique de Parisà Monsieur M. Franquin Professeur au Conservatoire en hommage biencordialDifficulty: 4

Marc Jean Babtiste Delmas was bom at St. Quentin on March 28,

1885, and died in Paris on December 1, 1931. He studied with Vidal and

Leroux at Le Conservatoire National Supérieur de Musique de Paris.

Delmas won the Prix de Rosini in 1911 and Le Prix de Rome in 1919. He

wrote seven operas, five symphonic works, chamber music, two books on

music, and various pieces for piano and other instruments.®*

Chorale et Variations begins, as would many theme and variations,

with the opening theme in a vary calm, serene setting. The melody is

gently passed fi-om trumpet to piano in a duo o f equality in texture. The

setting is in g minor which concludes the chorale section (8-a).

“ Harry R. Gee, Clarinet Solos de Concours, 1897-1980: An Annotated Biblio^aphy (Bloomington: Indiana University Press, 1981), 47.

58

Example 8-a

c. lr.t,9ir.g IryUci". .t . r.if o n \ . r i . ' ^ r r r c . r - r ^ ' r - r ^ j».i- %"

/*, : :!r '. s . ~~ trisr»Uiif._____/r<__

Premiér variation is a bit more animated. The theme is stated by a

subdivision o f the quarter note into a basic eighth note rhythm allowing a

strong sense o f forward motion with not much change to the melodic line

(8-b).

Example 8-b

Î. x,rl»rT.iu 3^ rr:—jAv: —tr.*.--..

- Æ ' i r zM . i ? » _ r :.- . 7 .-.;;.-p r .

Deuxiéme Variation transforms the 6/4 meter, found in the chorale

and variation I, into a 6/8 folk like melody, reminiscent o f an Irish folk

melody with added grace notes (8-c).

59

Example 8-cUntli rrftctixf.

. .,'1 - .rr: :::: ii—r r=i*-“i^ r-:rrr - \%rW T fr'z y jT:« ...... V

“"<» < • -j-«y.-~--— m , ■ I-■ . - ■... •m— # » - r ~ - - » - —- - I - » ' - ' '• '• y •■ • ^ - * ■ • -- .. ■

P n

Troisième variation retains the melodic content, but varies the

rhythmic content, including the meter, calling for an expressive lyrical

contrast (8-d).

Example 8-d• r % '. j r : e i - r r r r i f .

: ? : V jk ri& T S f'O : 3 " ^ v -çî. j ÿ - z r ÿ '

r\j'

»r. t .ef

The fmale. Quatrième variation, begins in the new key of G Major.

A return of the original meter is also found, but the melody is transformed

into a flurry o f chromatic and arpeggiated passages (8-e)

Example 8-e

AT'.iry'Fz i-'P :-rrj .

60

Choral et Variation revisits the theme and variation approach of

Dauvemè and Arban. Although still considered a formula piece, this

composition is much more musical than those o f the same era. Its

worthiness is confirmed by its selection again in 1945.

61

1920 (1923)

Büsser, Henri (1872-1973) Fantaisie sur des ThèmesEcossais Op. 70

pour Trompette Chromatique en Ut avec accompagnement de Piano Éditions Musicales Alphonse Leduc Concours du Conservatoire, 1920 Difficulty: 3

Example 9

F a n t a i s i e s u r d e s t h è m e s E c o s s a i sT 'fonsp^ tï» e/ft U t c a * & S i?

TftOMPETTK en. V T Kcnri

g — ..— —■‘y HlflUsi*' " ' " I ,<f 11 I .....ly

Ji/rWir ra le K lttfe z p

AilÏjnod'i'fV-tlOs;

AUf v iyo * c i t 4

« C . . .

52

Henry Büsser was bom in Toulouse, January 16, 1872 and died in

Paris, December 30, 1973, at the age o f 101. Büsser studied with the

maritrise o f Toulouse Cathedral, then, in Paris at the Niedermeyer School

and, later, at Le Conservatoire National Supérieur de Musique de Paris with

Guiraud. While at the Conservatory, Büsser took private lessons with

Gounod, Widor, and César Franck. He won Deuxième Prix de Rome in

1893 with his cantata Antigone. Büsser taught composition at the Paris

Conservatory from 1930 until 1948. His centennial was grandly celebrated

in January 1972 with performances o f his works by the leading Paris

orchestras and by an exhibition o f his manuscripts at the Opéra.®®

Fantaisie sur des Thèmes Ecossais (Fantasy on a Scottish Melody) is

a departure from the norm found in compositions selected for the morceau

de concours. This recognizable melody, set in A Major and in 12/8 time, is

first presented in its entirety o f the opening section. In Allegro moderato,

standard variation on a theme, Büsser immediately sets the melody in

augmentation of the rhythm, keeping the melody inviolate, focusing upon a

displacement of the accent. The third and final section. Allegro vivo, treats

the melody to a simple, but effective, 8th-note triplet variation. Büsser’s

Fantaisie is a lively departure from the conventional morceau de concours.

Büsser’s compositions were used in the 1911, 1918, 1920, 1928, and

1931 concours pour trompette and 1914, 1920, 1923, and 1929 morceau de

concours pour cornet.

Baker ’s Biographical Dictionary o f Musicians, 8th éd., s.v. “Büsser, Henri-Paul.”63

1922 (1910)Gédalge, André (1856-1926) Piècepour Trompette Ut ou Si b et PianoÉditions Musicales Alphonse Leduc, 1961Concours du Conservatoire National Supérieur de MusiqueDifficulty: 3

Gédalge was bom in Paris on December 27, 1856, and died in Chessy

on February 5, 1926. Considered to be an eminent French music theorist,

composer, and pedagogue, he began his study of music late in life and

entered Le Conservatoire National Supérieur de Musique de Paris at the age

of 28. Despite his late start, he made rapid progress and obtained the

Deuxième Prix de Rome after a year of study with Guiraud. He then

elaborated a system of counterpoint, later published as Traité de la fugue

(Paris, 1901; English translation 1964), which became a standard work.

In 1905, Gédalge was hired as professeur de contrepoint et fugue at

the Paris Conservatory. His students include Ravel, Enesco, Koechlin,

Roger-Ducasse, Milhaud, and Honegger.’®

Many of the compositions selected for Le Morceau de Concours

during the 20s were previously selected for the Concours', such was Pièce

by Andre Gédalge. Pièce begins very softly but authoritatively in the

minor key of C. Within a very few measures, the dialogue between the

accompaniment and the solo instrument becomes very aggressive and grows

to a dynamic shouting match. An a tempo introduces the first real theme of

the composition and continues in an ebb and flow o f changing moods and'‘ Baker’s Biographical Dictionary o f Musicians, iib ed., s.v. “Gédalge, André”.

64

dynamics o f the introduction.

The second and final section is marked Animato, very lively and not

too complex, this time in C Major. There is some reference to the first

section of the composition in the Animato, but mostly an exercise in

versatility and agility.

1926Barat, Jean-Édouard (1882-1963) Andante et Scherzopour Trompette Ut ou Si b et PianoEditions Musicales Alphonse Leduc, copyright by Evette et Schaeffer, 1926 Concours du Conservatoire National de Musique Difficulty; 4

Barat was bom on September 22, 1882. In 1898, he studied under

Paul Vidal and later at Le Conservatoire National Supérieur de Musique de

Paris with Emile Pessard. He was a bandmaster, founder and director of

Ecole Préparatoire de Sous-Chefs de Musique Militaire f An expert on the

saxhorn, Barat was often seen in the role o f performer. Barat served in the

Army from 1901 to circa 1930.^^

Andante et Scherzo begins with a fanfare introduction. The piano

accompaniment supplies a harmonic foundation to the trumpet call in A

Major (10-a). The first theme is then presented by the trumpet with

minimal movement from the accompaniment. The melody is simple but

” Harry R. Gee, Clarinet Solos de Concours, 1897-1980: An Annotated Bibliography. (Bloomington: Indiana University Press, 1981), 57.

Letter from E. Petti-Jean to Robert Dale Olson for A. Leduc, Paris, France, June 3, 1957.65

appealing as the accompaniment initiates motion by arpeggiating the

harmonic movement. A Piii vivo section o f 16th-note flourishes adds to the

intensity o f the section as does the change in dynamics, all to revisit the

memorable melody previously introduced.

Example 10-a

i . v rst

_ . ■’ _ £r. -.C> — ■ k (~>V- 1 #r - .Mfr_ É ii -- — ##. ■ ■■■ — — . - - — — — — - — — —. —— .

Example 10-b

y- • V' z '/ T.

The Scherzo, in C, begins with a rhythmic, two-measure motive

introduced by the piano, sustained to create awareness. The trumpet then

picks up the motive and develops it into a series o f variations (10-c). The

section offers an assortment of lively, rhythmically diverse melodies and

sequences. Barat includes a short section o f development leading back to

the opening fanfare; this time in C Major. The composition ends with a V if

66

coda encompassing elements o f the Scherzo motive.

Example 10-cFI-%0 # - ™ '■ ' -

A it ^ , 4 . , v ^ » \ _____ ___

./

P - ■: f

1934Desportes, Yvonne (1907- Introduction e t Allegropour C om et à piston Si b avec accompagnement de Piano Editions Musicales Alphonse LeducConcours du Conservatoire National de Musique de Paris (1934) à Monsieur Foveau, Professeur au Conservatoire Difficulty: 5

Yvonne (Berthe Melitta) Desportes was bom in Coburg, Saxony, July

18, 1907. She obtained the Grand Prix de Rome after having studied with

Jean and Noël Gallon, Paul Dukas, and Marcel Dupre at Le Conservatoire

National Supérieur de Musique de Paris. She was appointed professeur de

solfège at the conservatoire in 1943.’^

With a brief introduction. Desportes sets up a short motive, which

becomes the foundation on which the remainder of the composition is

based. Very little movement in the accompaniment allows the solo to

breathe in a cadenza like manner (11-a). The eleven measure introduction

is immediately followed by the Allegro moderato (11-b).Graves Dictionary o f Music and Musicians, 5th ed., s.v. “Desportes, Yvonne (Berthe Melitta).”

67

Example 11-a

L e n t - assez lihrcittcn i «=46 cov:;-

Î

iC -j- .n c i- - PH O T O C O r'E iNTcRDTE: t .4 t r* p riu fC » !j (-o« - u I '• 'jr.iC ri»or«»^: c 0 '?îfi*?Hcor» s ' t 'tr î* ; J

T~* I' ' "f—y

Example 11-b

S ra il.Aîîccrro inoo'f’

..F=r ;

The introductory motive is further developed and modified into a

lively melody which is treated to a variety o f reincarnations. Desportes

further varies the melody by the addition of triple tongue passages and the

changing of meter. A slower lyrical section breaks up the animation of the

allegro. The rhythmic motive is treated in diminution to create a variance

of the opening introduction in a much more relaxed tempo. The Allegro

Vivo makes up the final section o f this piece (11-c). By varying the motive,

Desportes creates an illusion o f recapitulation in a whirlwind drive to the

end. Multiple tonguing, difficult fingered passages, and dynamic contrast

68

are techniques used by Desportes to conclude this passage. Before the

climax is reached, everything is slowed to one third tempo for ten measures,

only to end in flurry.

Example 11-c

.\IIc£Tro vivo «. = 126r, _______

VVP

Î -■a

2

6-»-P

By this time in the history o f the concours, Eugene Foveau’s

influences were well ingrained into the fabric o f the music and composers

chosen to prepare the morceau de concours. Foveau allowed composers of

the morceau de concours to experiment with various styles o f composition.

Composers during this period began to develop more modemé

compositions, using techniques o f the era.

Foveau was the professeur de com et from 1925-1955, and with the

retirement of Pierre Vignal in 1941, Foveau took over the duties o f both

comet and trumpet professeur until Sabarich was appointed in 1947. The

69

requirements for the trumpet and comet classes were so similar by this time,

that it was decided to have two classes, 24 students, with a mixture of

trumpet and comet students. It was also required o f the students to study

both instruments.

1939Bloch, André (1873-1960) Meou- Tan Yin (Fête desPivoines)pour Trompette Ut avec accompagnement de Piano Éditions Gras La Fleche, Sarthe France, 1951 Concours du Conservatoire de Paris 1939à Monsieur Pierre Vignal, Professeur au Conservatoire National de musique e t d ’A rt Dramatique Difficulty: 4

André Bloch was bom in Wisembourg, Alsace, in 1873, and died in

Paris in 1960. He studied with Guiraud and Massenet at Le Conservatoire

National Supérieur de Musique de Paris and won the Grand Prix de Rome

in 1893. One o f his most successful major compositions was the Suite

Palestinienne for Cello and Orchestra. He also wrote two works for

saxophone and piano in 1932 and 1953. '‘

Fête des Pivoines, (Festival o f the Peonies) is named for this late-

spring, early-summer flower. This delightful composition begins utilizing

notes o f the F pentatonic scale over the sustained piano accompaniment of

nine measures o f tonic (F Major) over dominant in 3/8 meter.Harry R. Gee, Clarinet Solos de Concours, 1897-1980: An Annotated Bibliography.

(Bloomington: Indiana University Press, 1981), 56, quoting E.Villermoz, quoted in Londeix, op. cit, 41.70

Example 12-a

j

The melody is quickly repeated in C pentatonic. Then, several motives

resulting from the melody are borrowed to develop and use as a vehicle for

transition. Changes in key, time signature, and tempo, bring on the Calme

section to a very lyrical setting. Bloch continues to utilize the pentatonic

scale in an effective interplay between soloist and accompaniment, the piano

providing the underlying movement. The final section results in a

recapitulation of the opening theme with a bit more activity from the

accompaniment. The opening motive is augmented, expanded and treated

to various modifications before coming to the final F Major chord.

Bloch’s composition is an example o f new compositional trends for

the morceau de concours. It is based upon a pentatonic scale, incorporating

traditional requirements for the concours built around that scale. This

composition is not as difficult as some preceding it, but it does serve as a

good example o f deviation from the norm.

71

1943Bozza, Eugène (1905- Caprice Op.47pour Trompette en Ut ou en Si b et PianoÉditions Musicales Alphonse Leduc, 1943Concours du Conservatoire National de Musique de ParisDifficulty: 5

Eugène Bozza was bom in Nice on April 4, 1905. At the age o f

nineteen, Bozza was awarded the Premiér Prix for violin at Le

Conservatoire National Supérieur de Musique de Paris in 1924. He studied

with Edouard Nadaud, Henri Büsser, and Henri Rabaud. As a composer, he

is attracted to wind instruments and has written many works for them.

Besides having a successful career as a composer, Bozza was director at the

Conservatory of Valencienne.

Bozza’s Caprice is, to date, one of the most progressive pieces

written for the morceau de concours pour trompette ou cornet. The format

for this composition is much like that o f its predecessors, beginning with a

dramatic, fanfare quality Recitativo which marks one o f the rhythmic

motives used throughout the piece.

Example 13-a

i c r , r V : c ^ » " I

• ijf » ,

■" ■ - : —

’’Robert Dale Olson, "The Development o f Modem Solo Trumpet Literature as Traced Through The Morceaux de Concours at the Paris Conservatory. " (Denton, Texas: North Texas State College, 1957) , 108.

72

The introduction is comprised o f various transpositions and

treatments o f this motive. The Allegro section marks the introduction o f

the first theme, with the same marcato qualities found in the opening

section. 32nd-note triplets abound in both tongued and slurred forms along

with somewhat difficult chromatic and arpegiated passages (13-b).

Example 13-b

Q r » ' I i i C T 93^ ---------- — ------------— —— — 1— a*—~ --5 P f -3 * ' * • - - I — — —* ■ j - • f- '

{ S't flg 'V—'f — » - t ( t — J - W - C — f — i — -- -— —— ».............................- a»., a « ( —- Î-—.f— > — - I , » .j j l— » — -r---}— t II' —— ■ ■ "' ■» ——— - — - — -i ............ --ff—•€ —«- -r^— —

•7 r7 \i> e .3 :.':

/ c S2ss=a : ps . . . . ^ jt jt.- ~ z z c z c —-E5z2z— — —

A section o f pseudo recitative, reflective o f the opening, separates the

Allegro and the more subdued Assez lento section. The lento is written in

cantabile and is a welcomed deviation firom the technical demands o f the

prior sections (13-c).

73

Example 13-c

Vi— - , - ' ~ T ' ■*! ; 1 — P — r " ' ' i

üAcC=zsZ2.- . h :^ ——- p p = _ z ± _ z ; —.~r,

The lento is short lived and, once again, in the Allegro vivo, Bozza

challenges the performers to rhythmic articulation and the high overall

technique required o f this piece (13-d). Bozza makes this morceau de

concours challenging yet very musical and keeps within boundaries of

motives, themes, and tonality.

Exercise 13-d

20 IW iHifcj

e t»

74

1953Desenclos, Alfred Incantation, Thréne et Dansepour Trompette en ut et OrchestreÉditions Musicales Alphonse Leduc, 1953Concours de Conservatoire National de Musiqueà Messieurs E. Foveau et R. SabarichProfesseurs au Conservatoire National de MusiqueDifficulty: 7

Desenclos was bom in Portel, in Artois, February 7, 1912. He was

admitted to the Paris Conservatory in 1933 where he obtained the prize in

harmony, fugue, and composition. He was mobilized (drafted) in 1939 and

wounded in 1940. In 1941, he again took up his musical studies and

obtained the Grand Prix de Rome in 1942. He was named head of the

Conservatory at Roubatx where he remained until 1950 when he returned to

Paris. In 1956, he won the Loeffier Prize awarded by the Institute de

France. It has been said that his music is classical in structure, romantic in

its expression, and modem in its writing.

Incantation, Thréne et Danse, in three movements, begins with a very

powerful one-measure motive o f the accompaniment, followed by the

equally engaging answer by the soloist (14-a). This accompaniment motive

is repeated three times, each time answered more aggressively by the

soloist, almost in defiance. This allegro molto, almost aggitato, exchange

is followed by a très calme passage introducing a calming motive, this time

stated only twice by the accompaniment The exchange continues

throughout the movement, each time with a new motive introduced by the75

accompaniment

Example 14-a

^ V H r - f f r o n x o l t o

TH’.ttprrrf\ U c g I o

- -- 'Î: Æ 3C~~ ■ ■ ■ # —»>■ we—y - I#---- "T ' @K ' • ifr' i** M*

— — — -*-• -* ■ Ty *<*•,

, I » ----Î Æ Z 5 ÿr-~>y— fr*' — ■ - . — . - r - ^ ^ - # I# ■* - — •#*-— • w - —— | > — ' -* - — - » —

------'A— »• —

Throughout this first movement, Descencios uses the accompaniment

figures or motives as a statement of incantation, with the response gradually

lured into submission. He utilizes difficult rhythmic variations, explicit

directions in articulation and clear instructions, outlining the intent of the

composer. This movement challenges the techniques o f multiple tonguing,

flexibility, various forms o f articulation (including flutter tonguing), and

extreme dynamic contrast. The movement ends with a return to the first

motive, this time played by both the accompaniment and the soloist.

Movement II, Thrène, is much more serene than the first movement.

The marking Très modéré indicates a more tranquil setting, and the further

instruction of senza rigore confirms it. This movement seems to give the

76

participants much more freedom to let the melody breathe and interact.

Although the movement does have several changes of key and tempo, it

basically exhibits the performer’s ability to express himselfrherself lyrically

(14-b).

Example 14-b

The third and final movement. Danse, begins aggressively in the

accompaniment with a two measure motive, from which a portion is

immediately extracted by the soloist (14-c). This exchange continues with

the motive either completed by the soloist or the accompaniment, but

always stated completely. This motive leads directly to a syncopated Presto

section leading to a cadenza for the solo instrument. Much like the comet

cadenzas o f the late nineteenth and early twentieth centuries, this cadenza

leads the soloist through a plethora o f technical challenges.

The movement continues in 5/8 with the accompaniment introducing

the upcoming section in a disjunct paso-doble style. The soloist is

adequately challenged throughout the movement with various changes in

meter, multiple tonguing passages, articulation, and flexibility obstacles.77

Example 14-cA M o j C f o r e o l t o

J-nOSrSTTE irifedE

/■/.iSO

A : l c { r r o i n u î t o

•' .A&r..2AiH^#gg#3èÎ2Z^ig-:—iz-zt -■ ..'- ::---S’_L5:EE£r;: ^ ------- / —~ ; :

It is unlikely that the entire composition was used for the concours,

but it is a good representation o f the quality in students and professeurs

during this period. The composition was dedicated to Messieurs Foveau et

Sabarich who were teaching both trumpet and comet at that time.

78

1956Chaynes, Charles (1925- Concertopour Trompette en ut ou Si b et OrchestreÉditions Musicales Alphonse Leduc, 1956Concours du Conservatoire National de Musiqueà Messieurs E. Foveau et R. SabarichProfesseurs au Conservatoire National de MusiqueDifficulty: 7

Charles Chaynes was bom in Toulouse in 1925. He was a student o f

Jean and Noel Gallon, Darius Milhaud, and Jean Rivier. He obtained the

prize for harmony, fugue, and composition from the Paris Conservatory and

won the Grand Prix de Rome in 1951. ® His style has been characterized as

generously atonal, without strict use of serialism.’’

This piece begins with a simple but powerful F# diminished

statement. As the soloist immediately breaks into a 16th-note staccato-

chromatic flurry, the accompaniment answers with an almost identical

opening statement. The soloist responds with a similar passage utilizing a

triplet foundation allowing resolution of the statement (15-a).^® A playful

allegro section immediately follows in the mid-register o f the muted

trumpet with dynamic, tempo, and articulation markings clearly stated.

Seemingly simple, this passage is rhythmically complex demanding

interaction between soloist and accompaniment. The theme, which is

introduced at the beginning o f the allegro, continues to occur sometimes in

Baker’s Biographical Dictionary o f Musicians, 8th ed., s.v. “Chaynes, Charles.”Roland De Candé, Dictionaire des Compositeurs, Paris: Éditions du Seuil, 1996.

’* Throughout the history o f the concours, a 6n6re or strong opening statement has prevailed within introductory segment o f the solo. The marmer by which this is written and complexity o f the passage has varied throughout the years.

79

the opening F# diminished motive and later in the dominant. After a short

period o f development, Chaynes departs from the main theme and

introduces a lyrical passage with the trumpet in a cup mute. Short lived,

the main theme returns in yet another transposition, a whole step above the

dominant but has little resemblance to the original. A cadenza follows

another treatment o f pseudo-development. The performer is allowed to

develop the statements and motives played earlier.

Example 15-a

l i O = »no

"~V " : ' T f T—>«i i— •— —« .......... ■■■■*?— -- — ,_

Movement II, in typical fashion, is the lyrical, molto expressivo

movement o f the Concerto. With the tempo set at quarter note = 69, this

movement does challenge the expressive qualities o f the performer. Not

without inherent markings, this movement does, never the less, allow

artistic freedom.

The Final offers the usual abundance o f technical challenges with

some reference to motives and snippets of thematic material found in the

first movement (15-b). The performer is duly challenged in most every

aspect of trumpet technique and musicianship, with the accompaniment

80

providing complementary material and a solid foundation to the soloist.

Example 15-bF IN A L

ftp

1 y T—

/

This piece represents a transition period between professeicrs Foveau

and Vaillant {professeur 1957-1974). The material for the concours

continues to challenge the performers. Although a more modemé style of

writing prevails, the basic elements of the concours continue to be in place.

Concerto by Charles Chaynes was used in both the trumpet and comet

concours in 1956 indicating, by this stage in the history o f the concours that

technique and all other elements required of the comet and the trumpet

were now considered to be equal.

It was also in 1956 that the trumpet and comet classe began to have a

fall concours, held as early as September and as late as December.

Conservatory records do not indicate whether these were a concours used as

the entrance examination or preliminary concours for the spring contest.

The writer did view original material created specifically for these81

concours. The first piece was written in November by Henri Martelli,

composer o f the 1948 and 1864 morceaioc de concours. It is also interesting

to note that not all of the published morceaux de concours coincide with

documents viewed at the Médiathèque Hector-Berlioz. Documents

sometimes indicate an abbreviated version of the solo and, hrom year to

year, composers for the published solos and the composers for the

commissioned hand-written contest material were not the same.

Beginning with the 1969-1970 year, the classe de trompette began to

require orchestral transcriptions and excerpts as part of the concour process.

It was the duty o f the writer of the morceau de concours to also provide an

orchestral excerpt to be played by trumpet and piano.

By this time, the concours had taken on a more universal ideology (to

prepare the students for a professional career) which required that the

students be well rounded. Although orchestral literature had always been

taught in the studio, this would be the first indication that is was used in

competition. In addition, elements o f jazz were introduced to the

conservatoire and slowly influenced the music written for the concours.

By 1970, there was an indication that at least two rounds (cycle), at

lease one month apart, of concours were well ingrained within the system.

Separate music was written for the preliminary round (premiér cycle) than

that for the second round (deuxième cycle). Music in a classique style was

added to the more modemè style lypically written for the concours. Many

of these changes came during the time that Maurice André was elevating the82

exposure of the conservatoire through his recording and concert tours.

1966Weber, Alain Strophespour Trompette, Orchestre à Cordes et Percussion Éditions Musicales Alphonse Leduc, 1966 Concours du Conservatoire National Supérieur de Musique Difficulty: 6

This modem piece is written in a style departing from the

conventional formula o f the morceau de concours. It begins with a lento

section in which the soloist is invited to join. Engaging in various changes

in meter, the melodic line lends itself toward atonality (16-a). Although a

slow movement, the soloist is challenged at every measure. The challenge

is in flexibility o f the melodic line, versatility of changing rhythm and

meter, and the difficulty o f atonality.

Example 16-a

83

The solo does require o f its performer a full complement o f

articulation and rhythmic challenges (16-b), but lacks in any multiple

tonguing passages, present in solos o f the past. Although this solo does not

fit the typical criteria for the morceau de concours, it does exhibit many

musical hurdles and should only be performed by an experienced player.

Example 16-b

— 1 irvTi O

‘L"zfj - -ÿSL--r." pr7~':.;—

1971Semler-CoUery, Jules Évocation et Scherzettopour Trompette en ut et Piano Éditions Musicales Eschig, 1971Concours du Conservatoire National Supérieur de Musique de Paris A Messieurs Ludovic Vaillant et Maurice AndréProfesseurs au Conservatoire National Supérieur de Musique de Paris en toute amitié Difficulty: 5

With the tradition o f the grandiose, fanfare/cadenza, morceau de

concours o f the past, this solo is reminiscent o f those written in the first

84

quarter o f the 20th century. It begins with a very convincing introduction

and cadenza, exhibiting the versatility and strength of the soloist (17-a).

The mood soon subsides in a cantahile section which still challenges the

soloist’s rhythmic and lyrical proficiency continuing along the same manner

until the end o f the first movement

Example 17-a

I : o n r c ' i e r r ,

» 5-P-

cr>i/v2

The Scherzetto is to be treated lightly in a rather aggressive tempo:

quarter note =160. Technical challenges result firom the tempo but can be

handled by most experienced players. A traditional cadenza interrupts the

flow of the piece; written in an ordinary style, it requires a combination of

the performer’s technical ability and musicalily (17-b). The remainder of

the movement offers no additional challenges or musical ideas. Many

changes in tempo leave this movement open to vast interpretation.

85

Example 17-b

::T »-*{

:<t .?r

2JSCI

This composition does not offer the challenges of many morceau de

concours o f the 1940’s through the 1960’s. Perhaps a return to a more

conventional solo was requested by les professeurs.

Héraldiques1976Tisné, Antoine pour Trompette et Piano Éditions G. Billaudot, 1976Morceau de Concours du Conservatoire National Supérieur de Musique de Paris, 1976 Difficulty: 7

With the morceau de concours o f 1976, we find a departure from the

structured, almost programmatic morceaux o f the past. Héraldiques is a

composition which allows the performer much freedom of interpretation

and improvisation. The first movement. Héraldique 1. Extatique et

mystérieux, is written without meter, and bar lines are only included as a

point of reference for the performers (18-a). Contemporary techniques,

such as serialism, are utilized and instructions are included (18-b). The86

accompaniment is notated on the trumpet score to attain cohesiveness.

Example 21-a

-4-T n V - i I r t i t!;brc cnr:;ric iric

' i ' r o T n r ! .

.»/'>’ 1’1‘J' t'PPP-rn'- M ryxi**uzrrr 'Onp = >I'!V fP' :f/r li*

to ' Î3./T\ So[irnir;c

:îr-î i ^ 3 ^ JS?'{C-Vitpmzi

Him Pyi‘VsP '*l: p^ypi' pp= irpp

Example 21-c

CONVENTIONS

5 Resptratfon.^ Resnfration rapide.

Vibration à i/4 de ton.

1 P P l Accéiêrer ies valenrs.

i i :1 r Ralenti r les valeurs.

Note liée A la précédente.

Accélérer les crcsccndis.

87

The first movement ends with the a non-traditional cadenza. This

movement explores contemporary notation and compositional fi-eedom.

Although this piece is a radical deviation from the conventional morceau de

concours, Tisné maintains the traditions found in the form of all contest

pieces.

Unlike the first movement. Héraldique 2. Scandé is written in strict

tempo, eighth note = 120. Reminiscent o f Bitsch’®, this movement requires

much flexibility and accuracy firom the performer. Atonal in nature, Tisné

adapts serialism into his writing as the movement alternates between various

subdivisions o f the 16th-note meter (18-c). Dynamics and articulation

markings are clearly stated, leaving little fi-eedom to the performers.

Example 18-c

Héraldique 3. Elégianque returns to the expressive fireedom found in

the first movement. This is a slow movement, ending with a cadenza. The

movement is characterized by its e^glicit instruction in dynamic contrast,

contemporary techniques (flutter tonguing), and freedom of expression.

” Marcel Bitsch, Vingt études pour Trompette Ut ou Sib, (Paris: Alphonse Leduc, 1954).88

Movements Héraldique 4. Enjoué and Héraldique 5. Brillant could

be played as one movement since they are similar in style. Written to

challenge the performer’s overall technical ability, these movements are

written m a rather fast tempo using the 16th note as the base (18-d). The

movements are rhythmically difficult and require complex finger patterns

and multiple tonguing. The Enjoué movement ends with a lyrical section

only to shift to the Brillant and drive toward the end.

Example 18-d

f P p ^ P^-VPii-vcr

Héraldique is to be played as one continuous composition, only to be

separated by a fermata or change of tempo. This piece is reflective o f many

of the modemé compositions written for the concours during the 1970s and

1980s.

89

1979Bondon, Jacques Swing No. 3pour Trompette et Orchestre à Cordes Éditions Max Eschig, 1979Concours du Conservatoire National Supérieur de Musique de Paris Difficulty: 5

Bondon’s Swing No. 3 is a refreshing departure from many of the

the morceaux written in the 1970s. This tonal piece is written in one

movement and is very light and free (19-a). As we have noted in the

history of the concours, many compositions return to the format first used

in early 2 0 th-century morceau de concours.

Example 19-a

AHe-gro #;=i26 ,

' ■ - - ■ - - — ~ —_________ I _________________________ • _ » * « L _ ...__ ._

--y—

Although not at the difficulty level o f many o f the morceaux written

during this period, it does present many challenges for the performer.

Swing No. 3 is somewhat void o f excessive markings in dynamics and

articulation, leaving much of the musical interpretation to the performer. It

90

contains most of the elements present in the concours recipe (lyrical section,

multiple tongue passages) but doesn’t challenge the most experienced

students (19-b).

Example 19-b

By this time in the history o f the concours, with the help o f their

professeur, students were allowed to select a second piece chosen from the

standard repertoire for the instrument.®" The selection was to be in a

contrasting style than the morceau de concour commissioned for that year.

This was also the final year the morceau de concours was to be

officially commissioned by the conservatoire on a yearly basis. A rotation

of the commissioned concours continues to this date. Although, officially,

the trumpet studio was only to receive a morceau de concours every eight

years, loyalty to the professeurs, and the tradition o f the concours prompted

composers to continue to write for several years to come. 1979 also

marked the end of the the tenure for Maurice André and the beginning of

Marcel Lagorce’s (professeur 1979-1988) appointment. Pierre Thibaud

*“ By 1970, the conservatoire elected to allow students to select a second piece chosen from the standard repertoire of the instrument.

91

served at the conservatoire from 1975-1994 and, along with André was

instrumental in the direction the trumpet/comet studios were to take during

the 1970s and 1980s.

1987Hurel, Philippe Funky Studiespour CometÉditeur Gérard Billaudot, 1987Morceau de Concours du Conservatoire National Supérieur de Musique de Paris, 1987

This free form unaccompanied composition may be compared to

those of theme and variation vintage, without statement of the original

theme, retaining elements o f extreme intervalle leaps and dynamics.

Written in contemporary style and notation, this atonal piece optimizes the

performer’s extreme sense o f timing and agüity. The composer attempts to

capture the instrument’s variety o f tone production, utilizing the use of

mutes and other extended techniques (20-a). Included in this composition

are specific directions for uncommon modem notation which include

various usages o f the mute, irregular vibrato, flutter tongue, and extreme

accelerando (2 0 -b).

92

Example 20-a

TSourciine mi ouverte ^

--------------------------- : s frjr.-Sf* ?îÆn

y pO le r p rogressive- 'ment la So iirom e

Example 20-b

N O T E EXPU ÎCATSVE

Souttiina? fermée mi-ou v'crte ouvortc*

r-Poser sovrofnc star

nrc*voe r cct ef f t^ y j c i u c r î ; > f o r r r * u î s e n b o i » c f e

p<?nrt»r»t »r?ciic;ot-eK M

?JTîT-:

.n

F I T t o r ar u r> ÇI e

rSiS' r» t?ver ir; r»t»tei %c d K * s v r t c p o s s ib * »

S»ns « t î ^ c { u * î

C ? « n r iî* - \u i î- r j o s c j s j ”â r t O f »

. V»fc>re»to r r r - é t î c j î i c T

r" p i i Accéïôrcr asSSSS^^S

This composition is written in two movements which follow a quasi

allegro, largo, vivo, form at Extreme changes in dynamic contrast,

intervalle leaps and rhythmic diversity summarize the final section of this

composition.

93

Two additional morceaux de concours were commissioned for

trompette e t com et after 1987; Holstein’s Prélude en Camaïeu, in 1995 and

Couturier’s Triptyque, in 1997. Both compositions were written in a

modem style and optimized many o f the techniques inherent o f the concour

style o f writing.

It was obvious that each professeur du trompette et com et influenced

the writing o f the concours, although it was the early professeurs who set

the form and yard stick by which many who followed were to be measured.

The development of musical instruments (ttompette et comet), influenced

what was possible and the continuous pursuit of exceUehce o f each

professeur and student resulted in outstanding and progressive solo music

for trumpet.

As trumpet teachers, performers and students, we owe a great debt to

the compositeurs et professeurs du conservatoire for the abundance o f first

rate literature we have available today.

The following is a chronological listing o f trumpet and comet professeurs

and dates o f service to the conservatoire.

TrompetteFrançois-Georges-Auguste Dauvemé (1833-1869) Jules Cerclier (1869-1894)Merri-Jean-Baptist Franquin (1894-1929)

94

Pierre-Joseph Vignal (1929-1941)Eugene Foveau (1925-1955) trompette et cornet (started teaching trumpet in 1941)Raymond-Antoine Sabarich (1947-1966) trompette et comet Ludovic Vaillant (1957-1974) trompette e t com et Maurice André (1966-1979) trompette et com et Pierre Thibaud (1975-1994) trompette et com et Marcel Lagorce (1979-1988) trompette et com et Antoine Cure (1988-present) trompette et com et Clément Garrec (1994-present) trompette et com et

Comet à pistonJean-Baptist Arban (1869-1874)Jacques Hippolyte Maury (1874-1880)Jean-Baptist Arban (1881-1889)Jean-Joseph MeUet (1890-1910)Alexandre Petit (1911-1925)Eugene Foveau (1925-1955)Raymond-Antoine Sabarich (1947-1966) com et et trompette Ludovic Vaillant (1957-1974) com et et trompette Maurice André (1966-1979) comet et trompette Pierre Thibaud (1975-1994) com et et trompette Marcel Lagorce (1979-1988) com et et trompette Antoine Cure (1988-present) com et et trompette Clément Garrec (1994-present) com et et trompette

95

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96

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Caringi, Joseph John. The Clarinet Contest Solos o f the Paris Conservatory; with a Performance Analysis o f Selected Compositions. Ed. D.Thesis, Columbia University, 1963.

MacKay, Mary Gillian. Trumpet and Cornet Concours Music a t the Paris Conservatoire, 1835-1925: The Development o f Styles and Roles.D M A. diss. Northwestern University, 1996.

Olson, Robert Dale. The Development o f Modem Solo Tmrmpet Literature as Traced Through The Morceaux de Concours at the Paris Conservatory. M.M. Thesis,University o f North Texas, 1957.

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98

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102

Holstein, Jean-Paul. Prélude en Camaïeu. Paris: Éditions Musicales Durand, 1995.

Hue, Georges. Premiér Solo de Comet à Pistons. Paris: Éditions Musicales Alphonse Leduc, 1955.

Hurel, Philippe. Funky Studies. Paris: Éditeur Gérard Billaudot, 1987.

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Lancien, Noël. Vocalises. Paris: Éditions Chovdens, 1968.

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Le Boucher, Maurice. Scherzo Appassionato. Paris: Éditions Musicales Alphonse Leduc, copyright Lucien de Lacour, 1934.

Level, Pierre-Yves. Les Gémeaux. Paris: Éditions Musicales Billaudot,1985.

Manen, Christian. Fanfare et Marche. Paris: Éditions Musicales Billaudot,1983.

Margoni, Alain. Dialogue, Detente et Stretto. Paris: Éditions Rideau Rouge, 1980.

Martelli. Henri. Concertino Op. 99. Paris: Éditions Max Eschig, 1964.

Martelli, Henri. Sonatine. Paris: Éditions Costallat, 1948.

103

Marty, Georges. Choral. Paris: A. Joanin & Cie., 1907.

Maugiie, Jules - L.- M. Lied et M otif Héroïque. Paris: Gérard Billaudot. 1929.

Maury, Henri. Primer Solo de Concours. Paris: Éditions Robert Martin Chamay-Lés-Macon, 1956.

Maury, Henri. 2 éme Solo de Concours. Paris: Éditions Robert Martin Chamay-Lés-Macon, 1876.



Mazellier, Jules. Légende Dramatique. Paris: Éditions Buffet Crampon, Annct. Evette et Schaeffer, 1932.

Mouquet, Jules. Légende Héroique. Paris: Éditions Musicales Alphonse Leduc, 1908.

Nigg, Serge. Pièce. Paris: Société des Éditions Jobert, 1972.

d’Ollone, Max. Solo de Trompette en Fa. Paris: Éditions Musicales Alphonse Leduc, 1957.

Parés, Gabriel. Premiér Solo. Paris: Éditions M R. Braun, 1897.

Pennequin, J.G. Morceau de Concert. Paris: Éditions Musicales Alphonse Leduc, 1907.

Perrier, M. Prélude et Allegro. Paris: Gérard Billaudot Éditeur, 1941.

Petit, Pierre. Jericho, Thème et Variations. Paris: Gérard Billaudot Éditeur,1984.

104

Pichaureau, Claude. Aristolochos. Paris: Editions Musicales Alphonse Leduc, 1974.

Pichaureau, Claude. Ipoméa. Paris: Éditions Rideau Rouge, 1976.

Ratez, E. Gigue Op. 32. Paris: Éditions Musicales Ch. Gras, 1939.

Rivière, Jean-Pierre. Tenroc. Paris: Éditions Max Eschig, 1982.

Rougnon, Paul. lér Solo de Concert. Paris: Millereau, Éditeur, Fabricant d’instruments de Musique, 1895.

Rougnon, Paul. 2 éme Solo. Paris: Millereau, Éditeur, Fabricant d’instruments de Musique, 1896.

Rougnon, Paul. 4 éme Solo de Concert. Paris: Éditions Musicales Alphonse Leduc, 1913.

Rougnon, Paul. Solo de Concert. Paris: Millereau, Éditeur, Fabricant d’instruments de Musique, 1895.

Rueff, Jeanine Fantaisie Concertante. Paris: Éditions Musicales Alphonse Leduc, 1949.

Rueff, Jeanine. Mobiles. Paris: Éditions Musicales Alphonse Leduc, 1967.

Rueff, Jeanine. Sonatine. Paris: Éditions Musicales Alphonse Leduc, 1957.

Saint-Saëns, Camille. Fantaisie en Mi Bémol. Paris: Éditions Musicales Alphonse Leduc, 1935.

Sancan, Pierre. Rapsodie. Paris: Éditions Rideau Rouge, 1870.

Saufuel, Henri. Petite Chanson. Paris: Bibliotéque du Conservatoire, Lecture à vue Concours, 1942.

Savard, A. Morceau de Concours. Paris: Éditions Musicales Alphonse Leduc, 1955.

105

Schmitt, Florent. Suite Op. 133. Paris: Éditions Durand & Cie, 1955.

Semler-CoUery Jules. Évocation et Scherzetto. Paris: Éditions Musicales Eschig, 1971.

Semler-CoUery, Jules. Nocturne et Rondo. Paris: Éditions Max Eschig, 1968.

Semler-CoUery, Jules. Romance et Tarentelle. Paris: Éditions Max Eschig, 1962.

Thome, Francis. Fantaisie. Paris: Éditions Musicales Alphonse Leduc,1959.

Tisné, Antoine. Héraldiques. Paris; Gérard Billaudot, Éditeur, 1976.

Toumier, Franz. Aria et Thème Varié. Paris: Éditions Rideau Rouge, 1967.

Vidal, Paul. Concertino. Paris: Éditions Salabert, 1922.

Villette, Pierre. Concertino. Paris: Éditions Musicales Alphonse Leduc, 1979.

Weber, Alain. Sonatine Brève. Paris: Éditions Musicales Alphonse Leduc,1958.

Weber, Alain. Strophes. Paris: Éditions Musicales Alphonse Leduc, 1966.

Zbar, Michel. Nocturne. Paris: Éditions Musicales Alphonse Leduc, 1985.

106

APPENDIX A

Morceaux de Concours pour trompette 1835-1999

1835-1841Dauvemé, François-Georges-Auguste

1842Dauvemé, François-Georges-Auguste










Solo de Concours

Thème Varié

A ir Varie

Solo de Concours

Variations

Fantaisie

Solo de Concours

Polonaise avec Introduction

Fantaisie en mi bémol

Concertino

Thème Varié

107


1856 rDauvemé, François-Georges-Auguste












Solo de Concours

Fantaisie

Polonaise

Solo de Concours

Polonaise

Allegro martial

Premiér Solo en mi bémol

Huitième Solo (polonaise)

Quatrième Solo de Concours enfa

Sixième Solo de Concours

Huitième Solo (Polonaise)

Troisième Solo en mi bémol

Premièr Solo en mi bémol

108

1868Dauvemé, François-Georges-Auguste Deitxiéme Solo en mi bémol

1869Dauvemé, François-Georges-Auguste Premiér Solo de Concours

1870Dauvemé, François-Georges-Auguste Air Varié

1871Due to the Franco-Prussian War, examinations for the year 1871 were suspended.




1875Cerclier, Jules-Henri-Louis






109

Fantaisie en fa

Deuxième Solo en ré


Fantaisie

Huitième Solo de Concours


Quatrième Solo de Concours

Huitième Solo de Concours

Caprice

1881Dauvemé, François-Georges-Auguste Huitième Solo de Concours

1882Dauvemé, François-Georges-Auguste Solo en mi naturel



1885Dauvemé, François-Georges-Auguste Solo de Concours

Solo de Concours

Premiér Solo en mi majeur




1889Dauvemé, François-Georges-Auguste Morceau de Concours

1890Dauvemé, François-Georges-Auguste Morceau de Concours

Solo de Concours

Solo de Concours

Solo de Concours

L ’ Éclatante Fantaisie1891Dubois, Charles F.pour Trompette chromatique en mi bémol avec accompagnement de Piano E. DePlaix, Éditeurs, 1893

1892Cerclier, Jules-Henri-Louis Solo de Concours

110

1893Dauvemé, François-Georges-Auguste Solo de Concours

1894Cerclier, Jules-Henri-Louis Solo de Concours

1895Rougnon, Paul Premiér Solo de Concourspour Trompette chromatique en fa avec accompagnement de Piano Imposé ou concours du Conservatoire de Paris (1895)

1896Rougnon, Paul Deuxième Solo de Concourspour Trompette chromatique en fa avec accompagnement de Piano Millereau, Éditeur, Fabricant d’instruments de Musique, 1896.Imposé ou concours du conservatoire de Paris, 1896

1897Hillmacher, Paul Premiér Solo de Concourspour Trompette avec accompagnement de Piano Evette & Schaeffer, Éditeurs, 1897 Concours du Conservatoire, 1897

1898Pessard, Emile (Louis-Fortuné) Premiér Solopour Trompette en fa avec accompagnement de Piano Édition Musicales Alphonse Leduc, 1951

1899Chapuis, Auguste Solo de Trompette en fapour Trompette ou de Cornet ou de Bugle si bémol avec accompagnement de PianoÉditions Musicales Alphonse Leduc, 1952 Concours de Conservatoire National de Musique

111

1900Alary, G Morceau de Concourspour Trompette chromatique en ut avec accompagnement de Piano Éditions Musicales Alphonse Leduc, 1958 Concours du Conservatoire National Supérieur de Musique

1901Erlanger, Camille Solo de Trompette Chromatique

en fapour Trompette chromatique en fa avec accompagnement de Piano Éd. Evette & Schaeffer et Éditions Alphonse Leduc Concours du Conservatoire National de Musique (Année 1901)

1902d’Ollone, Max Solo de Trompette en fapour Trompette (ut ou si bémol) avec accompagnement de Piano Éditions Alphonse LeducConcours du Conservatoire National de Musique de Paris

1903Ropartz, J. Guy Andante et Allegropour Trompette chromatique en ut avec accompagnement de Piano A. Dupont-Metzner, Éditeur-proprietaire pour tous pays 1899 Concours du Conservatoire

1904Georges, A Legende de l ’Armor

1905Dallier, Henri Fête Joyeusepour Trompette ut ou si bémol et PianoÉditions Alphonse Leduc, 1957Concours du Conservatoire National de Musique

1906Enesco, Georges Légendepour Trompette et PianoÉditeurs Enoch & Cie., 1906Imposée au Concours du Conservatoire (Anée 1906)

112

1907Marty, Georges Choralpour Trompette et Orchestra ou avec accompagnement de Piano A. Joanin & Cie., Éditeurs 1907 Concours du Conservatoire 1907

1908Enesco, Georges Légendepour Trompette et PianoÉditeurs Enoch & Cie., 1906Imposée au Concours du Conservatoire (Anée 1906)(first used in 1906)

1909Chapuis, Auguste Solo de Trompette en fapour Trompette ou de Cornet ou de Bugle si bémol avec accompagnement de PianoÉditions Musicales Alphonse Leduc, 1952 Concours de Conservatoire National de Musique (first used in 1899)

1910Gédalge, André Piecepour Trompette ut ou si bémol et Piano Evette & Schaeffer, Éditeurs, 1910Concours du Conservatoire National de Musique (Année 1910)

1911Büsser, Henri Andante et Scherzopour Trompette ut ou si bémol et Piano Éditions Musicales Alphonse Leduc, 1954 Concours du Conservatoire National de Musique

1912Ratez, E. Gigue, Op. 32pour Trompette avec Piano ou Orgue Éditions Musicales Ch. Gras, 1939Concours de Conservatoire de Paris 1912, morceau imposé

113

1913Rougnon, Paul Quatrième Solo de Concertpour Trompette chromatique en ut avec accompagnement de Piano Éditions Musicales Alphonse LeducConcours de Conservatoire National Supérieur de Musique

1914Delmas, Marc Choral et Variationspour Trompette et Piano Gérard Billaudot ÉditeurMorceau de Concours du Conservatoire National Supérieur de Musique de Paris

1915No record of concours for the trumpet was found for this year. A. Savard, Morceau de Concours was used for the comet.

1916Ropartz, J. Guy Andante et Allegropour Trompette chromatique en ut avec accompagnement de Piano A. Dupont-Metzner, Éditeur-proprietaire pour tous pays 1899 Concours du Conservatoire (first used in 1903)

1917Dallier, Henri Fête Joyeusepour Trompette ut ou si bémol et PianoÉditions Alphonse Leduc, 1957Concours du Conservatoire National de Musique(first used in 1905)

1918Büsser, Henri Andante et Scherzopour Trompette ut ou si bémol et PianoÉditions Musicales Alphonse Leduc, 1954Concours du Conservatoire National de Musique(first used in 1911)

114

1919Chapuis, Auguste Solo de Trompette en fapour Trompette ou de Cornet ou de Bugle si bémol avec accompagnement de PianoEditions Musicales Alphonse Leduc, 1952 Concours de Conservatoire National de Musique (first in used 1899, again in 1909)

1920Büsser, Henri Variations en répour Trompette ut ou si bÉditions Musicales Alphonse Leduc, 1950Concours de Conservatoire National Supérieur de Musique^'

1921Enesco, Georges Légendepour Trompette et Piano Éditeurs Enoch & Cie., 1906Imposée au Concours du Conservatoire (Anée 1906)(first used in 1906)

1922Gédalge, André Piècepour Trompette ut ou si b et PianoÉditions Musicales Alphonse Leduc, 1961Concours du Conservatoire National Supérieur de Musique

1923Pessard, Emile Solo(listed in Olson, Morceau de Concours, would assume it is the same aslisted in 1898 ).

" Olson lists Dubois, Fantaisie, as the 1920 Concours, records at the Conservatory and the Bibliotéque National do not support this finding.

115

1924Dallier, Henri Fête Joyeusepour Trompette ut ou si bémol et PianoÉditions Alphonse Leduc, 1957Concours du Conservatoire National de Musique(first used in 1905, again in 1917)

1925Alary, G Morceau de Concourspour Trompette chromatique en ut avec accompagnement de Piano Éditions Musicales Alphonse Leduc, 1958 Concours du Conservatoire National Supérieur de Musique (first used in 1900)

1926Barat, Jean-Édouard Andante et Scherzopour Trompette ut ou si b et PianoÉditions Musicales Alphonse Leduc, copyright by Evette et Schaeffer, 1926 Concours du Conservatoire National de Musique

1927No record o f the morceau de concours for the trumpet was found for this year.

1928Büsser, Henri Andante et Scherzopour Trompette ut ou si bemol et PianoÉditions Musicales Alphonse Leduc, 1954Concours du Conservatoire National de Musique(first used in 1911, again in 1918)

1929Maugüe, Jules L.M. Lied et M otif Héroïquepour Trompette et Piano Gérard Billaudot ÉditeurMorceau de Concours du Conservatoire National Supérieur de Musique de Paris

116

1930Dallier, Henri Fête Joyeusepour Trompette ut ou si bemol et PianoÉditions Alphonse Leduc, 1957Concours du Conservatoire National de Musique(first used in 1905; 1917, and 1924)

1931Büsser, Henri Adeste Fideles (Variations)pour Trompette ut ou si b et OrchestreÉditions Musicales Alphonse Leduc, copyright by Lucien de Lacour 1931 Concours du Conservatoire National Supérieur de Musique

1932Mazellier, Jules Légende Dramatiquepour Trompette en ut et PianoÉditions Musicales Buffet Crampon Annct. Evette et Schaeffer Concours du Conservatoire National de Musique de Paris (1932)

1933No record of the morceau de concours for the trumpet was found for this year.

1934Le Boucher, Maurice Scherzo Appassionatopour Trompette en ut et PianoÉditions Musicales Alphonse Leduc, copyright by Lucien de Lacour 1934 Conservatoire National de Musique de Paris, Morceau de Concours

1935Toumemire Fantaisie


1937Goeyens Legende d ’Armor

117


1939Chailleux, André Morceau de Concourspour Cornet si b ou Trompette ut ou si b et PianoÉditions Musicales Alphonse Leduc, 1959Concours de Conservatoire National de Musique de Paris

1940Barat, Jean-Édouard Lento e t Scherzopour Cornet si b ou Trompette ut ou si b e t Piano Éditions Musicales Alphonse Leduc, 1949 Concours du Conservatoire National de Musique de Paris

1941Perrier, M. Prélude et Allegropour Trompette en ut ou Cornet (ou Trompette en si b)Gérard Billaudot ÉditeurMorceau de Concours du Conservatoire National Supérieur de Musique de Paris

1942Filleul, Henri Solo de Concourspour Trompette en ut, avec accompagnement de Piano G. Leblanc, Éd. Musicales “L ’Orphéon”

1943Bozza, Eugène Capricepour Trompette en ut ou en si b et PianoÉditions Musicales Alphonse Leduc, 1943Concours du Conservatoire National de Musique de Paris

118

1944Cellier, Alex Chevauchée Fantastiquepour Trompette ut e t Piano Gérard Billaudot ÉditeurConcours du Conservatoire National Supérieur de Musique de Paris, Morceau de Concours 1944

1945Delmas, Marc Choral et Variationspour Trompette et Piano Gérard Billaudot ÉditeurMorceau de Concours du Conservatoire National Supérieur de Musique de Paris

1946Guilbert, Robert Impromptupour Trompette en ut e t PianoÉditions Musicales Alphonse Leduc, 1946Concours du Conservatoire National de Musique de Paris

1947Bédouin, Paul Fantaisiepour Trompette et PianoÉditions Musicales Alphonse Leduc, 1947Concours du Conservatoire National de Musique de Paris

1948Jolivet, André Concertinopour Trompette en ut et Orchestra à cordes Durand et Cie., 1948Morceau de Concours du Conservatoire National de Paris 1948

1949Rueff, Jeanine Fantaisie Concertantepour Cornet et PianoÉditions Musicales Alphonse Leduc, 1949Concours de Conservatoire National Supérieur de Musique de Paris

119

1950Bitsch, Marcel Quatre Variations sur un

Thème de Domenico Scarlattipour Trompette si b ou Cornet et Piano Éditions Musicales Alphonse Leduc, 1950 Concours du Conservatoire National de Musique

1951Saint-Saëns, Camille Fantaisie en mi bémol

transcription par Henri Büsserpour Trompette en ut et PianoÉditions Musicales Alphonse Leduc, copyright by Lucien de Lacour 1935 Concours du Conservatoire National de Musique

1952Bitsch, Marcel Capricciopour Cornet ou Trompette si b et Piano Éditions Musicales Alphonse Leduc, 1952 Concours du Conservatoire National de Musique

1953Gartenlaub, Odette Trois Pièces Brèvespour Cornet à piston ou Trompette en si b et Piano Éditions Musicales Eschig, 1953Concours du Conservatoire National de Musique de Paris, Année 1953

1954Barraine, Eisa Fanfares de Printempspour Cornet à piston en la Éditions Max Eschig, 1954Concours du Conservatoire National de Musique de Paris

1955Bozza, Eugène Rustiquespour Cornet si b ou Trompette ut ou si b et piano Éditions Musicales Alphonse Leduc, 1955 Concours du Conservatoire de Musique, 1955

120

1956Chaynes, Charles Concertopour Trompette en ut et Orchestre Éditions Musicales Alphonse Leduc, 1956 Concours du Conservatoire National de Musique

1956Defaye, Jean-Michel Sonatinepour Trompette ou Cornet en si b et Piano Éditions Eschig, et Éditions Musicales Alphonse Leduc, 1956 Concours du Conservatoire National de Musique

1957Rueff, Jeanine Sonatinepour Cornet si b ou Trompette ut ou si b et Piano Éditions Musicales Alphonse Leduc, 1957 Concours du Conservatoire National de Musique

1958Brenta, Gaston Concertinopour trompette en ut et Orchestre à cordesÉditions Musicales Alphonse Leduc, 1958Concours de Conservatoire National Supérieur de Musique

1959Challan, Henri Variationspour Trompette en ut et PianoÉditions Musicales Alphonse Leduc, 1959Concours du Conservatoire National de Musique de Paris

1960Constant, Marius Trois Movementspour Cornet si b ou Trompette ut ou si b et Piano Éditions Musicales Alphonse Leduc, 1960 Concours du Conservatoire National Supérieur de Musique

121

1961Dandelot, Georges Sonatinepour Trompette et Piano Éditions M. Eschig, 1961Concours de Conservatoire National Supérieur de Musique de Paris, Année1961

1962Boutiy, Roger Trumpeldorpour Trompette ut ou si b et PianoÉditions Musicales Alphonse Leduc, 1962Concours du Conservatoire National Supérieur de Musique

1963Bemaud, Alain Pavane et Saltarellepour Trompette et Piano Éditions Ricordi, 1963Concours de Conservatoire National Supérieur de Paris 1963

1964Brown, Charles Entrée, Air et Finalpour Trompette et Orchestre ou Piano Éditions Max Exchig, 1964Concours du Conservatoire National Supérieur de Musique de Paris

1965Castérède, Jacques Brèves RencontresTrois Pièces pour Trompette en ut ou si b et Piano Éditions Musicales Alphonse Leduc, 1965 Concours du Conservatoire National Supérieur de Musique

1966Weber, Alain Strophespour Trompette, Orchestre à Cordes et Percussion Éditions Musicales Alphonse Leduc, 1966 Concours du Conservatoire National Supérieur de Musique

122

1967Rueff, Jeanine Mobilespour Trompette et PianoÉditions Musicales Alphonse Leduc, 1967Concours de Conservatoire National Supérieur de Musique

1968Lancien, Noël Vocalisespour Trompette avec ponctuation de Piano Éditions Chovdens, 1968Concours de Conservatoire National Supérieur de Musique de Paris

1969Arrieu, Claude Concertstückpour Trompette et Piano Amphion Éditions Musicales, 1969Concours du Conservatoire National Supérieur de Paris, 1969

1970Sancan, Pierre Rapsodiepour Trompette et Piano Éditions Rideau Rouge, 1970Morceau de Concours du Conservatoire National Supérieur de Musique de Paris 1970

1971Semler-Collery, Jules Évocation et Scherzettopour Trompette en ut et Piano Éditions Musicales Eschig, 1971Concours du Conservatoire National Supérieur de Musique de Paris

1972Nigg, Serge Piècepour Trompette et Piano Société des Éditions Jobert, 1972Concours de Trompette de Conservatoire National Supérieur de Musique 1972

123

,S2

1973Gotkovsky, Ida Concertopour Trompette et Orchestre Éditions Musicales Transatiantiques, 1973Concours du Conservatoire National Supérieur de Musique de Paris

1973Defaye, Jean-Michel Performancepour Trompette ut et Trompette si b aiguë et Orchestre Éditions Musicales Alphonse Leduc, 1973(no identification o f concours on the cover, identified by Leduc*)

1974Pichaureau, Claude Aristolochospour Trompette en ut ou en si b ou Cornet en si b et Piano Éditions Musicales Alphonse Leduc, 1974 Conservatoire National Supérieur de Musique de Paris, 1974

1975Defaye, Jean-Michel Fantasiapour Trompette en ut et Piano Éditions Max Eschig, 1975Concours du Conservatoire National Supérieur de Musique de Paris

1976Tisné, Antoine Héraldiquespour Trompette et Piano Éditions G. Billaudot, 1976Morceau de Concours du Conservatoire National Supérieur de Musique de Paris, 1976

1977Boutry, Roger Préludespour Trompette et PianoÉditions Salabert, Paris/New York, 1977Morceau de Concours du Conservatoire National Supérieur de Musique, 1977

A second selection was found for the year 1973 as a possible morceau de concours.124

1978Gartenlaub, Odette Sarcasmepour Trompette et Piano Éditions Rideau Rouge, 1978Concoicrs du Conservatoire National Supérieur de Musique de Paris

1979Bondon, Jacques Swing No. 3pour Trompette et Orchestre à Cordes Éditions Max Eschig, 1979Concours du Conservatoire National Supérieur de Musique de Paris

1980Margoni, Alain Dialogue, Detente et Strettopour Trompette ou Cornet et Piano Éditions Rideau Rouge, 1980Concours du Conservatoire National Supérieur de Musique de Paris

1981Calvi, Gérard Concerto (Premiér Mouvement)pour Trompette en ut, Orchestra à Cordes e t Percussion Editions Musicales Alphonse Leduc, 1981Concours du Conservatoire National Supérieur de Musique de Paris

1982Rivière, Jean-Pierre Tenrocpour Cornet en si h ou Trompette ut e t Piano Éditions Max Eschig, 1982Concours du Conservatoire National Supérieur de Musique de Paris

1982Jolas, Betsy Episode Troisièmepour Trompette en ut seuleÉditions Musicales Alphonse Leduc, by Heugel & Cie. 1982 Commande du Conservatoire National Supérieur de Musique de Paris

125

1983Clostre, Adrienne Le Combat Avec L ’Angepour Trompette et Piano Éditions Choudens, 1983Morceau du Concours du Conservatoire National Supérieur de Musique de Paris

1984Petit, Pierre Jericho, Thème et Variationspour Trompette en ut et Piano Gérard Billaudot Éditeur, 1984Morceau de Concours du Conservatoire National Supérieur de Musique de Paris, 1984

1985Zbar, Michel Nocturne «pour Trompette en ut ou Cornet si b et Piano Éditions Salabert, 1985Morceau de Concours de Conservatoire National Supérieur de Musique de Paris, 1985^'

1985Level, Pierre-Yves Les Gémeauxpour Trompette et Percussion Gérard Billaudot Éditeur, 1985Morceau de Concours du Conservatoire National Supérieur de Musique de Paris, 1985


There are two selections listed as the morceau de concours for trumpet in 1985, one published by Billaudot and one by Salabert. It may be that one publisher misprinted a date, but both show the solo to be the morceau de concours for that year. There was no solo found for the year 1986.

126

1987Hurel, Philippe Funky Studiespour CometÉditeur Gérard Billaudot, 1987Morceau de Concours du Conservatoire National Supérieur de Musique de Paris, 1987








127

1995Holstein, Jean-Paul Prélude en Camaïeupour Trompette et Orgue Éditions Durand, 1995Comande du Conservatoire National Supérieur de Musique et de Danse de Paris


1997Couturier, Jean-Louis Triptyquepour Trompette d ’ordonnance m i b Éditions Combre, 1997 Solo de Concours



128

Morceaux de concours pour cornet 1869-1999

1869Arban, Jean Baptiste Deuxième Grande Solopour Cornet à piston avec accompagnement de Piano Éditions Musicales Alphonse Leduc, 1869

1870Arban, Jean Baptiste Caprice e t Variationspour Cornet à piston avec accompagnement de Piano Cari Fischer, New York

1871Due to the Franco-Prussian War, examinations for the year 1871 were suspended.

1872Arban, Jean Baptiste Deuxième Fantasiepour Comet à piston avec accompagnement de Piano

1873No record of the morceau de concours for the comet was found for this year.

1874Arban, Jean Baptiste Deuxième Solopour Comet à piston avec accompagnement de Piano

1875Maury, Henri. Primer Solo de Concourspour Comet à piston avec accompagnement de Piano Éditions Robert Martin Chamay-Lés-Macon, 1875

1876Maury, Henri. 2 ème Solo de Concourspour Cornet à piston avec accompagnement de Piano Éditions Robert Martin Chamay-Lés-Macon, 1876

129

1877Maury, Henri 3 éme Solo de Concourspour Cornet à piston avec accompagnement de Piano Éditions Robert Martin Chamay-Lés-Macon, 1877

1878Maury, Henri. Primer Solo de Concourspour Cornet à piston avec accompagnement de Piano Éditions Robert Martin Chamay-Lés-Macon, 1875

1879Cohen, Léonce Concertinopour Cornet à piston avec accompagnement de Piano

1880Cohen, Léonce Concertinopour Cornet à piston avec accompagnement de Piano

1881Arban, Jean Baptiste Fantaisie et Variations sur

“Actéon ”pour Cornet à piston avec accompagnement de Piano Cari Fisher, New York

1882Arban, Jean Baptiste Fantaisie et Variations sur

“Zampa ”pour Cornet à piston avec accompagnement de Piano

1883Arban, Jean Baptiste Solo de Mercandantepour Cornet à piston avec accompagnement de Piano

1884Arban, Jean Baptiste Premiér Suite d ’etudespour Cornet à piston avec accompagnement de Piano

130

1885Arban, Jean Baptiste Deuxième Suite d ’etudespour Comet à piston avec accompagnement de Piano

1886Arban, Jean Baptiste Troisième Suite d ’etudespour Cornet à piston avec accompagnement de Piano

1887Arban, Jean Baptiste Quatrième Suite d ’etudespour Cornet à piston avec accompagnement de Piano

1888Arban, Jean Baptiste Cinquième Suite d ’etudespour Cornet à piston avec accompagnement de Piano

1889Arban, Jean Baptiste Morceau de Concourspour Cornet à piston avec accompagnement de Piano

1890Cohen, Léonce Solo de Concourspour Cornet à piston avec accompagnement de Piano

1891Forestier, Joseph Deuxième Solopour Cornet à piston avec accompagnement de Piano

1892Hubans Concertinopour Cornet à piston avec accompagnement de Piano

1893Mellet Concertino in mi bpour Comet à piston avec accompagnement de Piano

1894Jonas, Emile Concertinopour Comet à piston avec accompagnement de Piano

131

1895Jonas, Emile Premiér Fantaisiepour Cornet à piston avec accompagnement de Piano

1896Jonas, Emile Deuxième Fantaisiepour Cornet à piston avec accompagnement de Piano

1897Parés Premiér Solo en fapour Cornet à piston avec accompagnement de Piano Éd M. R. BraunMorceau de Concours du Conservatoire National Supérieur de Musique de Paris

1898No record o f the morceau de concours for the cornet was found for this year. Most likely one from a previous year was used.

1899Rougnon, Paul Premiér Solo de Concertpour Trompette en fa ou Comet en si h avec accompagnement de Piano Millereau, Éditeur, Fabricant d ’instruments de Musique, 1895 Imposé ou Concours du Conservatoire de Paris, 1895

1900Hüe, Georges Premiér Solo de Concertpour Cornet à piston avec accompagnement de Piano Éditions Alphonse Leduc, 1955 Concours du Conservatoire de Musique, 1900

1901Silver, Charles Scherzopour Cornet à piston en si b avec accompagnement de Piano Editions Musicales Alphonse Leduc

132

1902Thomé. Francis Fantaisiepour Comet si b ou Trompette si b et PianoÉditions Musicales Alphonse Leduc, 1959Concours de Conservatoire National de Musique de Paris

1903Savard, Marie Augustin Morceau de Concourspour Cornet à piston et PianoÉditions Musicales Alphonse Leduc, 1955Concours de Conservatoire National de Musique de Paris

1904Luigini, Alexander Capricepour Cornet à piston et Piano

1905Levadé, Charles Capricepour Cornet à piston et Piano

1906Hüe, Georges Premiér Solo de Concertpour Cornet à piston avec accompagnement de PianoÉditions Alphonse Leduc, 1955Concours du Conservatoire de Musique, 1900(first used in 1900)

1907Pennequin, J. G. Morceau de Concertpour Cornet à piston si b avec accompagnement de Piano Éditions Musicales Alphonse Leduc Concours du Conservatoire National de Musique de Paris

1908Mouquet, Jules Légende Héroïquepour Cornet à piston avec accompagnement de Piano Éditions Musicales Alphonse Leduc

133

1909Gaubert, Philippe Cantabile et Scherzettopour Comet si b et PianoEditions Musicales Alphonse Leduc, 1959Concours du Conservatoire National Supérieur de Musique

1910Hüe, Georges Premiér Solo de Concertpour Cornet à piston avec accompagnement de Piano Éditions Musicales Alphonse Leduc, 1955 Concours du Conservatoire de Musique, 1900

1911Parés, Gabriel Premiér Solopour Cornet et Piano Éd. M. R. BraunMorceau de Concours du Conservatoire National Supérieur de Paris

1912Cools, Eugène Solo de Concourspour Cornet si b et PianoÉditions Musicales Alphonse Leduc, 1958Concours du Conservatoire National Supérieur de Musique

1913Balay, Guillaume Pièce de Concourspour Cornet à piston en si b avec accompagnement de Piano Éditions Musicales Alphonse Leduc Concours du Conservatoire National de Musique de Paris

1914Büsser, Henri Variations en ré bémol Op. 55pour Trompette ut ou si bÉditions Musicales Alphonse Leduc, 1950Concours de Conservatoire National Supérieur de Musique

134

1915Savard, Marie Augustin Morceau de Concourspour Cornet à piston et PianoÉditions Musicales Alphonse Leduc, 1955Concours de Conservatoire National de Musique de Paris(first used in 1903)

1916Hüe, Georges Premiér Solo de Concertpour Cornet à piston avec accompagnement de PianoÉditions Musicales Alphonse Leduc, 1955Concours du Conservatoire de Musique, 1900(first used in 1900)

1917Cools, Eugène Solo de Concourspour Cornet si b et PianoÉditions Musicales Alphonse Leduc, 1958Concours du Conservatoire National Supérieur de Musique

1918Parés Fantaisie Capricepour Cornet si b et piano

1919Balay, Guillaume Petite Pièce Concertantepour Cornet à piston en si b avec accompagnement de Piano Éditions Salabert, 1940 Conservatoire National de Paris, Anée 1919

1920Büsser, Henri Fantaisie sur des Thèmes

Ecossais Op. 70pour Trompette chromatique en ut avec accompagnement de Piano Éditions Musicales Alphonse Leduc,Concours du Conservatoire, 1920

135

1921Savard, Marie Augustin Morceau de Concourspour Cornet à piston et PianoÉditions Musicales Alphonse Leduc, 1955Concours de Conservatoire National de Musique de Paris(first used 1903)

1922Vidal, Paul Concertinopour Cornet à piston ou Trompette chromatique avec accompagnement dePianoÉditions Salabert, 1922Concours du Conservatoire de Paris, 1922

1923Büsser, Henri Fantaisie sue des Thèmes

Ecossais Op. 70pour Trompette chromatique en ut avec accompagnement de Piano Éditions Musicales Alphonse Leduc Concours du Conservatoire, 1920

1924Mouquet, Jules Impromptupour Cornet à piston avec accompagnement de Piano

1925Savard, Marie Augustin Morceau de Concourspour Cornet à piston et PianoÉditions Musicales Alphonse Leduc, 1955Concours de Conservatoire National de Musique de Paris(first used 1903)

1926Hüe, Georges Premiér Solo de Concertpour Cornet à piston avec accompagnement de PianoÉditions Alphonse Leduc, 1955Concours du Conservatoire de Musique, 1900(first used in 1900)

136


1928Gaubert, Philippe Cantabile et Scherzettopour Comet si b et Piano Éditions Alphonse Leduc, 1959Concours du Conservatoire National Supérieur de Musique

1929Büsser, Henri Variations en répour Trompette ut ou si bÉditions Musicales Alphonse Leduc, 1950Concours de Conservatoire National Supérieur de Musique(first used in 1914)

1930Boumonville, Armand Pendant la Fêtepour Cornet et Piano Gérare Billaudot ÉditeurMorceau de Concours du Conservatoire National Supérieur de Musique de Paris

1931Barat, Jean-Édouard Fantasie en mi bémolpour Cornet si b ou Trompette ut ou si b et PianoÉditions Musicales Alphonse Leduc, 1958Concours du Conservatoire National de Musique de Paris

1932Foret, Félicien Deux Piècepour Cornet à piston et PianoÉditions Musicales Alphonse Leduc, 1932Concours du Conservatoire National de Musique de Paris (1932)

1933No record o f the morceau de concours for the comet was found for this year.

137

1934Desportes, Yvonne Introduction et Allegropour Cornet à piston si b avec accompagnement de Piano Éditions Musicales Alphonse LeducConcours du Conservatoire National de Musique de Paris (1934)

1935Saint-Saëns, Camille Fantaisie en mi bémoltranscription par Henri Büsser pour Trompette en ut et PianoÉditions Musicales Alphonse Leduc, copyright by Lucien de Lacour 1935 Concours du Conservatoire National de Musique

1936Clergue Sarabande et Rigaudonpour Cornet et Piano

1937Emmanuel, Maurice Sonatepour Cornet ou Bugle et Piano Éditions Musicales Alphonse Leduc, 1951 Concours du Conservatoire National de Musique

1938No record of the morceau de concours for the cornet was found for this year.

1939Bloch, André Meou- Tan Yin (Fête des

Pivoines)pour Trompette ut avec accompagnement de Piano Éditions Gras La Fleche, Sarthe France, 1951 Concours du Conservatoire de Paris 1939

138

1940Barat, Jean-Édouard Fantasie en M i bémolpour Cornet si b ou Trompette ut ou si b et pianoÉditions Musicales Alphonse Leduc, 1958Concours du Conservatoire National de Musique de Paris(also used in 1931)

1941Perrier, M. Prélude et Allegropour Cornet et Piano Gérard Billaudot ÉditeurMorceau de Concours du Conservatoire National Supérieur de Musique de Paris

1942No record o f the morceau de concours for the cornet was found for this year.

1943Bozza, Eugène Capricepour Trompette en ut ou en si b et PianoÉditions Musicales Alphonse Leduc, 1943Concours du Conservatoire National de Musique de Paris

1944Cellier, Alex Chevauchée Fantastiquepour Trompette ut et Piano Gérard Billaudot ÉditeurConcours du Conservatoire National Supérieur de Musique de Paris, Morceau de Concours 1944

1945Dallier, Henri Fête Joyeusepour Trompette ut ou si bémol et PianoÉditions Alphonse Leduc, 1957Concours du Conservatoire National de Musique(first used in morceau de concours for trumpet in 1905)

139

1946Guilbert, Robert Impromptupour Trompette en ut et PianoÉditions Musicales Alphonse Leduc, 1946Concours du Conservatoire National de Musique de Paris(used this same year for trumpet concours)

1947Bédouin, Paul Fantasiepour trompette et PianoÉditions Musicales Alphonse Leduc, 1947Concours du Conservatoire National de Musique de Paris

1948Martelli, Henri Sonatinepour Cornet â piston si b et Piano Éditions CostallatConservatoire National de Musique de Paris, Morceau de Concours 1948

1949Gallois-Montbrun, Ramond Sarabande et Finalepour Trompette et PianoÉditions Musicales Alphonse Leduc, 1949Concours de Conservatoire National de Musique de Paris

1950Goeyens Legende d ’Armorpour Cornet et Piano

1951Delerue, G. Concertinopour Trompette en ut ou si b et Orchestre à cordes Éditions Musicales Alphonse Leduc, 1951 Concours de Conservatoire National de Musique

140

1952Françaix, Jean Sonatinepour Trompette et Piano Éditions Musicales Eschig, 1952Concours de Conservatoire National de Musique de Paris, Anée 1952

1953Desenclos, Alfred Incantation, Thréne et Dansepour Trompette en ut et Orchestre Éditions Musicales Alphonse Leduc, 1953 Concours de Conservatoire National de Musique

1954Clostre, Adrienne Concerto

1955Schmitt, Florent Suite Op. 133pour Trompette et Piano, (ou Orchestre), en trois parties Éditions Durand & Cie., 1955Concours de Conservatoire National de Musique 1955

1956Chaynes, Charles Concertopour Trompette en ut et Orchestre Éditions Musicales Alphonse Leduc, 1956 Concours du Conservatoire National de Musique

1957Lantier, Pierre Concert en Trois Partiespour Trompette ut et Piano (ou Orchestre)Éditions Henry Lemoiné & Cie., Paris/Bruxelles, 1957 Concours de Conservatoire de Paris, 1957 trompette et Piano

1958Weber, Alain Sonatine Brèvepour Cornet si b ou Trompette ut ou si b et Piano Éditions Musicales Alphonse Leduc, 1958 Concours du Conservatoire National Supérieur de Musique

141

1959No record o f the morceau de concours for the comet was found for this year. The morceau de concours for the trumpet may have been used.

1960Constant, Marius Trois Movementspour Comet si b ou Trompette ut ou si b et Piano Éditions Musicales Alphonse Leduc, 1960 Concours du Conservatoire National Supérieur de Musique

1961Gotkovsky, Ida Concertinopour Cornet si b ou Trompette si b ou ut et Piano Éditions Salabert, 1961Morceau de Concours 1961 du Conservatoire National Supérieur de Paris

1962Semler-Collery, Jules Romance et Tarentellepour Cornet à en piston si b ou Bugle si b et piano Éditions Max Eschig, 1962Concours du Conservatoire National de Musique de Paris

1963Bigot, Eugène Élégie E t Bouréepour Cornet si b ou Trompette ut et PianoÉditions Musicales Alphonse Leduc, 1963Concours de Conservatoire National Supérieur de Musique

1964Martelli, Henri Concertino Op. 99pour Cornet en si b et Piano Éditions Max Eschig, 1964Concours du Conservatoire National Supérieur de Musique de Paris

1965Bozza, Eugène Comettinapour Cornet si b ou Trompette en ut et PianoÉditions Musicales Alphonse Leduc, 1965Concours du Conservatoire National Supérieur de Musique, 1965

142

1966Boutry, Roger Concertinopour Comet si b et PianoEditions Musicales Alphonse Leduc, 1966Concours du Conservatoire National Supérieur de Musique

1967Toumier, Franz Aria et Thème Variépour Cornet ou Trompette en si b ou ut et Piano Éditions Rideau Rouge, 1967Concours de Conservatoire National Supérieur de Musique de Paris

1968 ^Semler-Collery, Jules Nocturne et Rondopour Cornet à piston si b et Piano Éditions Max Eschig, 1968Concours du Conservatoire National de Musique de Paris

1969Durand, Pierre Moment Musicalpour Cornet en si b et PianoÉditions Musicales Alphonse Leduc, 1969Concours de Conservatoire National Supérieur de Musique

1970Brenet, Thérèse Inter-Silentiapour Cornet si b ou Trompette ut ou si b et Piano Éditions Musicales Alphonse Leduc, 1970 Concours du Conservatoire National Supérieur de Musique

1971Aubain, Jean Sonatinepour Cornet à piston et Piano Éditions Chouden, 1971Morceau de Concours du Conservatoire National Supérieur de Musique de Paris

143

1972Dubois, Pierre-Max Fantasie sur une ChansonCanadiennepour Cornet ou Trompette en si b ou Trompette en ut et PianoÉditions Musicales Alphonse Leduc, 1972Concours de Conservatoire National Supérieur de Musique

1973Couroupos, Georges Hippospour Cornet et Piano Éditions Rideau Rouge, 1973Concours du Conservatoire National Supérieur de Musique de Paris

1974Brown, Charles Pulcinopour Cornet si b ou Bugle si b ou Trompette et Piano Éditions M. Eschig, 1974Concours du Conservatoire National Supérieur de Musique de Paris

1975Clostre, Adrienne Six Variationspour Cornet si b ou Trompette ut et Piano Éditions Musicales Hortensia, 1975Concours du Conservatoire National Supérieur de Musique de Paris

1976Pichaureau, Claude Ipoméapour trompette si b, ut ou Cornet si b et Piano Éditions Rideau Rouge, 1976Concours du Conservatoire National Supérieur de Musique de Paris, 1976

1977No record of the morceau de concours for the cornet was found for this year. The morceau de concours for the trumpet (Boutry: Préludes) may have been used. Antoine Tisné, Roger Boutry and Claude Pichaureau wrote the examination pieces for this year.

144

1978Lancen, Serge Movementpour Comet si b ou Trompette si b ou ut et Piano Éditions Billaudot, 1978Morceau de Concours du Conservatoire National Supérieur de Musique de Paris, 1978

1979Villette, Pierre Concertinopour Cornet si b ou Trompette ut ou si b avec accompagnement d ’Orchestreà cordes ou de PianoÉditions Musicales Alphonse Leduc, 1979Concours de Conservatoire National Supérieur de Musique

1980Margoni, Alain Dialogue, Detente et Strettopour Trompette ou Cornet et Piano Éditions Rideau Rouge, 1980Concours du Conservatoire National Supérieur de Musique de Paris

1981No record o f the morceau de concours for the cornet was found for this year. The morceau de concours for the trumpet may have been used.Nicole Philiba was the composer of the examination pieces for June o f 1981.

1982Rivière, Jean-Pierre Tenrocpour Comet en si b ou Trompette ut et Piano Éditions Max Eschig, 1982Concours du Conservatoire National Supérieur de Musique de Paris

1983Manen, Christian Fanfare et Marchepour Comet en si b ou Trompette en si b ou en ut e t Piano Gérard Billaudot ÉditeurMorceau de Concours du Conservatoire National Supérieur de Musique de Paris, 1983

145

1984Holstein, Jean-Paul Hommage à Morriconepour Trompette en ut ou Cornet en si b et Piano Durand S. A. Éditions Musicales, 1984Morceau de Concours du Conservatoire National Supérieur de Musique de Paris

1985Zbar, Michel Nocturnepour Trompette en ut ou Cornet si b et Piano Éditions Salabert, 1985Morceau de Concours de Conservatoire National Supérieur de Musique de Paris, 1985

1986No record o f the morceau de concours for the cornet was found for this year. No records for any examination pieces were found at the Bibliotéque du Conservatoire.

1987Hurel, Philippe Funky Studiespour Com etÉditeur Gérard Billaudot, 1987Morceau de Concours du Conservatoire National Supérieur de Musique de Paris, 1987

1988No record o f the morceau de concours for the cornet was found for this year. Michel Zbar composed the examination pieces for this year.

1989No record o f the morceau de concours for the comet was found for this year. The composer for the examination pieces for this year was anonymous.

1990No record of the morceau de concours for the comet was found for this year. The composer for the examination pieces for this year was anonymous.

146

1991No record of the morceau de concours for the comet was found for this year. The composer for the examination pieces for this year was anonymous, the admission examination was composed by Albert Roussel and Henri Martelli.


1993No record of the morceau Je concours for the comet was found for this year. The composer for the examination pieces for this year was anonymous. Found was an etude written by Bereau (no first name given), for Trompette Ut et Piano.


1995No record of the morceau de concours for the comet was found for this year. The composer for the examination pieces for this year was anonymous. Morceau de Concours for trumpet was Jean-Paul Holstein.

1996No record of the morceau de concours for the comet was found for this year. The composer for the examination pieces for this year was anonymous. The entrée compositions by Garofani, were found at the bibliotéque du conservatoire.


147


1999No record of the morceau de concoitrs for the comet was found for this year. The composer for the examination pieces for this year was anonymous.

148

APPENDIX B

Composer’s Biography

A rban, Jean-B abtiste (1825-1889)

Joseph Jean Babtiste Laurent Arban was bom at Lyons, France on

February 28, 1825, and died in Paris, April 9, 1889. He entered the Paris

Conservatory at a very early age studying trumpet under Dauvemé (1841-

45), then was engaged as a leader o f Parisian salon orchestras. After having

served as professor o f saxhorn at the École Militaire School in 1857, he was

elected professeur de com et at Le Conservatoire National Supérieur de

Musique de Paris on January 23, 1869. Arban traveled to Russia as a

conductor, returning to Paris in 1880, where he resumed his post as teacher.

Arban is acknowledged as the founder o f the modem school of comet

playing. He published the standard manual Grand methode complete pour

com et a pistons et de saxhom (Paris, 1864). He was an officer o f the

Académie, Knight o f the Order of Leopold o f Belgium, o f Christ o f

Portugal, o f Isabella the Catholic, and o f the Cross o f Russia.*"

B arat, Jean-Édouard (1882-1963)

Barat was bom September 22, 1882. In 1898, he studied under Paul

Vidal and, later, Barat studied at Le Conservatoire National Supérieur de

Musique de Paris with Emile Pessard. He was a bandmaster, founder, and** Baker’s Biographical Dictionary o f Musicians. 8th ed, s.v. “Arban, (Joseph) Jean-Baptiste

(Laurent).”

149

director o f École Préparatoire de Sous-Chefs de Musique Militaire f An

expert on the saxhorn, Barat was often seen in the role o f performer. In

19II , he was appointed to the Académie. Barat served in the Army from

1901 to circa 1930.*®

Barraine, Elsa (1910-

Elsa Barraine was bom in Paris on February 13, 1910. Educated at

Le Conservatoire National Supérieur de Musique de Paris (1919-1929), she

studied composition under Paul Dukas, harmony under Jean Gallon, fugue

under Caussade, and score reading under Estyle. Barraine was appointed

C hef de chant. Orchestra National de France, 1936-1939; Head of Sound,

Orchestra National de France, 1944-1946; Musical Director, Chant du

Monde, 1944-1946; Professor of Musical Analysis, Le Conservatoire

National Supérieur de Musique de Paris, 1953-74. While at the

conservatory, Barraine was a recipient o f the Prix du Harmonie in 1925, Le

Grand Prix de Rome (for Heracles a Delphes), 1928, and Grand Prix de

Rome (fox La Vierge guerrière), in 1929. *’

Bernaud, Alain (1932-

Alain Bemaud was bom in Neuilly-sur-Seine on March 8, 1932. He

studied at Le Conservatoire National Supérieur de Musique de Paris where

“ Harry R. Gee, Clarinet Solos de Concours, 1897-1980: An Annotated Bibliography. (Bloomington: Indiana University Press, 1981), 57.

“ Letter from E. Petti-Jean to Robert Dale Olson for A. Leduc, Paris, France, June 3, 1957. " Eleanor CaldweU, “Elsa Barraine” in Contemporary Composers, 1992.

150

he won five first prizes: composition, fugue, counterpoint, harmony, and

composition for organ. Bemaud won the Premiér Grand Prix de Rome in

1957.

Bloch, André (1873-1960)

André Bloch was bom in Wisembourg, Alsace, in 1873, and died in

Paris in 1960. He studied with Guiraud and Massenet at Le Conservatoire

National Supérieur de Musique de Paris and won the Grand Prix de Rome

in 1893. One of his most successful major compositions was the Suite

Palestinienne for Cello and Orchestra. He also wrote two works for

saxophone and piano in 1932 and 1953.*®

Bitsch, M arcel (1921-

Marcel Bitsch was bom in 1921. As a student at Le Conservatoire

National Supérieur de Musique de Paris, Bitsch studied with Hemri Büsser

and won the Grand Prix de Rome in 1945. Bitsch was one o f France’s most

gifted young composers. He loved Italian music and his music has been

termed “very modem and in a ‘savant’ style.”’®

** Kristine Klopfenstein Fletcher, The Paris Conservatoire and the Contest Solos fo r Bassoon, (Bloomington: Indiana University Press, 1988), 82.

” Harry R. Gee, Clarinet Solos de Concours, 1897-1980: An Annotated Bibliography. (Bloomington: Indiana University Press, 1981), 56. quoting E.Villermoz, quoted in Londeix, op. cit, 41.

Letter &om E. Petti-Jean to Robert Dale Olson for A. Leduc, Paris, France, June 3, 1957.151

Boutry, Roger (1932-

Roger Boutry was bom in Paris in 1932. He studied at Le

Conservatoire National Supérieur de Musique de Paris with Nadia

Boulanger, Tony Aubin, and Jean Doyen. He received the Grand Prix de

Rome in 1954, then embarked on a career as a solo pianist. His

compositions for solo instruments have been described as both “extremely

demanding yet very listenable.”’’

Bozza, Eugène (1905-

Eugéne Bozza was bom in Nice on April 4, 1905. At the age o f

nineteen, Bozza was awarded the Premiér prix for violin at Le

Conservatoire National Supérieur de Musique de Paris in 1924. He studied

with Edouard Nadaud, Henri Büsser, and Henri Rabaud. As a composer, he

is attracted to wind instruments and has written many works for them.

Bozza was director at Le Conservatoire de Valencienne^^

Büsser, Henri Paul (1872-1973)

Henry Büsser was bom in Toulouse, January 16, 1872 and died in

Paris, December 30, 1973, at the age of 101. Büsser studied in the

maritrise o f Toulouse cathedral, then in Paris at the Niedermeyer School,

and, later, at Le Conservatoire National Supérieur de Musique de Paris with’* Kristine Klopfenstein Fletcher, The Paris Conservatoire and the Contest Solos for Bassoon,

(Bloomington: Indiana University Press, 1988), 89.’Tlobert Dale Olson, “The Development o f Modem Solo Trumpet Literature as Traced Through

The Morceaux de Concours at the Paris Conservatory. ” (Denton, Texas: North Texas State College, 1957) , 108.

152

Guiraud. While at the Conservatory, Büsser took private lessons with

Gounod, Widor, and César Franck. He won Deuxième Prix de Rome in

1893 with his cantata Antigone. Büsser taught composition at the Paris

Conservatory from 1930 until 1948. His centennial was grandly celebrated

in January 1972 with performances o f his works by the leading Paris

orchestras and by an exhibition of his manuscripts at the Opéra.®^

Castérède, Jacques (1926-

Jacques Castérède was bom in Paris in 1926. He received the Grande

Prix de Rome in 1953 after studying with Tony Aubin at Le Conservatoire

National Supérieur de Musique de Paris.

Challan, H enri (1910-

Henri Challan was bom in Asniéres on December 12, 1910. He

studied at Le Conservatoire National Supérieur de Musique de Paris under

Jean Gallon and Henri Büsser. Challan was awarded the Deuxième Grand

Prix de Rome in 1936 and, in 1942, was appointed professor o f harmony at

the Conservatory.*’

” Baker’s Biographical Dictionary o f Musicians, 8th ed., s.v. “Büsser, Henri-Paul.”Kristine Klopfenstein Fletcher, The Paris Conservatoire and the Contest Solos fo r Bassoon,

(Bloomington; Indiana University Press, 1988), 80. ” Ibid., Fletcher, 83.

153

Chapuis, Auguste (1858-1933)

Auguste Paul Jean Babtiste Chapuis was bom in Dampierre-sur-salon,

France on April 29, 1858, and died in Paris, December 6, 1933. He studied

with Dubois, Massenet, and Franck at Le Conservatoire National Supérieur

de Musique de Paris. He was awarded the Premiér Prix in harmony in

1877, Premiér Prix in organ in 1880 as well as the Rossini Prize in 1885.’®

Chaynes, Charles (1925-

Charles Chaynes was bom in Toulouse in 1925. At Le Conservatoire

National Supérieur de Musique de Paris, he was a student of Jean and Noel

Gallon, Darius Milamd, and Jean Rivière. Chaynes obtained the Premiér

Prix for harmony, fugue and composition from the Conservatory and won

the Grand Prix de Rome in 1951.”

Constant, M arius (1925-

Marius Constant was bom in Bucharest, on Febmary 7, 1925. At age

20 he went to Paris, and studied first with Enescu, then at Le Conservatoire

National Supérieur de Musique de Paris with Messiaen and Aubin. At the

École Normale he studied conducting with Foumet. He received the

Premiér Prix from the Conservatory in composition (1949). In 1950 he

joined Groupe de Recherches Musicales studying musique concrète at

Robert Dale Olson, "The Development o f Modern Solo Trumpet Literature as Traced Through The Morceaux de Concours at the Paris Conservatory. ” (Denton, Texas: North Texas State College, 1957) , 109.

Ibid, Olson, 109.154

French Radio. In 1953 he was music director of the VHP network and in

1970 music director of Opéra Royale du France. He won the Italia Prize

for the ballet Le joueur de flûte, and later won the Koussevitzky Prize

(1962) and the Premio Marzotto (1968). Constant was music director for

the ballet company of Roland Petit (1957-63) and led the American tour

(1958). As a composer interested in aleatory music and in unusual timbre,

sometimes calling for unusual instruments.

Works include several ballets (some for instruments and tape) and

operas: Les Chants de Maldover (reciter, 23 improvising instruments, 10

cellos with fixed parts, 1962); Stress (jazz trio, piano, 5 brass, and

percussion, 1977).®®

Cools, Eugene (1877-1936)

Cools was bom in Paris, March 27, 1877 and died in that city in

August 5, 1936. He was a pupil o f Gédalge, Faure, and Widor at Le

Conservatoire National Supérieur de Musique de P a r i s . Cools won the

Prix Cresent for his Symphony (1906), and was assistant to Gédalge at the

Conservatory (1907-1923). He taught at the Ecole Normale de Musique

(1919) and was music critic for Le Monde Musical. In 1928 he was

appointed editior in chief for Max Esching, a Paris music publisher.’* Don Michael Randel, editor. The Harvard Biographical Dictionary o f Music, (Cambridge,

London: The Belknap Press o f Harvard University Press, 1996), 172.” Robert Dale Olson, “The Development o f Modem Solo Trumpet Literature as Traced Through

The Morceaux de Concours at the Paris Conservatory. ” (Denton, Texas: North Texas State College, 1957) , 109.

Nicolas Slonimsky, editor. Baker’s Biographical Dictionary ofMusicians, Seventh Edition (New York: Schirmer Books, 1984), 495.

155

Dallier, H enri (1849-1943)

Henri Dallier was bom in Rheims on March 20, 1849 and died in

Paris on December 23, 1943. He was an outstanding organist, composer,

and teacher. After having studied at Le Conservatoire National Supérieur

de Musique de Paris with Cedar Franck, he was appointed organist at the

Madelein and later, Professeur de Harmonie at the Conservatory.'”‘

Defay, Jean M ichel (1932-

Jean Michel Defay was bom in Saint Mande, France in 1932. Defay

entered Le Conservatoire National Supérieur de Musique de Paris and

studied with Aubin. He won the Premiér Prix in harmony in 1949, the

composition prize in 1950, and the Deuxième Grand Prix de Rome in 1952.

Defay was a student of Aubin.

Delm as, M arc (1885-1931)

Marc Jean Babtiste Delmas was bom at St. Quentin on March 28,

1885 and died in Paris on December 1, 1931. He studied with Vidal and

Leroux at Le Conservatoire National Supérieur de Musique de Paris.

Delmas won the Prix de Rosini in 1911 and Le Prix de Rome in 1919. He

wrote seven operas, five symphonic works, chamber music, two books on

"" Ibid., Slonimsky, 495.Robert Dale Olson, “The Development o f Modem Solo Trumpet Literature as Traced

Through The Morceaux de Concours at the Paris Conservatory. " (Denton, Texas: North Texas State College, 1957) , 110.

156

music, and various pieces for piano and other instruments.*”

Desenclos, A lfred (1912-

Desenclos was bom in Portel, in Artois, February 7, 1912. He was

admitted to Le Conservatoire National Supérieur de Musique de Paris in

1933 where he obtained the Premiér Prix in harmony, fugue and

composition. He was mobilized by the French army in 1939 and wounded

in 1940. In 1941, he took up his musical studies and obtained Le Grand

Prix de Rome in 1942. He was named head of the Conservatory at Roubaix

where he remained until 1950 when he returned to Paris to live and

compose. In 1956, he won the Loeffler Prize awarded by the Institute of

France. It has been said that his music is classical in structure, romantic in

its expression, and modem in its writing.*”'*

Desportes, Yvonne (1907-

Yvonne (Berthe Melitta) Desportes was bom in Coburg, Saxony, July

18, 1907. She obtained the Grand Prix de Rome after having studied wth

Jean and Noël Gallon, Paul Dukas and Marcel Dupre at Le Conservatoire

National Supérieur de Musique de Paris. She was appointed professeur de

solfège there in 1943.*”®

Hany R. Gee, Clarinet Solos de Concours, 1897-1980: An Annotated Bibliography (Bloomington: Indiana University Press, 1981), 47.

Robert Dale Olson, “The Development o f Modem Solo Trumpet Literature as Traced Through The Morceaux de Concours at the Paris Conservatory. ” (Denton, Texas: North Texas State College, 1957) , 109.

Graves Dictionary o f Music and Musicians, 5th ed., s.v. “Desportes, Yvonne (Berthe157

Dubois, (François-Clément) Théodore (1837-1924)

Clément Dubois was bom in Ronday, Marné on August 24, 1837 and

died in Paris, June 11, 1924. This eminent French composer and organist

entered Le Conservatoire National Supérieur de Musique de Paris in 1853

studying with Marmontel (piano), Benoist (organ), Bazin, and Ambroise

Thomas (composition). Dubois completed his studies at the conservatory in

1861. He won the Grand Prix de Rome with the cantata Atala, after having

taken first prizes in all other areas o f composition and harmony. In Paris,

he was maître de chapelle at Sainte-Clotilde until 1869 and at the Madeleine

until 1877, and then succeeded Sain-Saens there as organist. In 1871 he

was made professeur du harmonie at the Conservatory succeeding Elwart.

In 1891 the became professeur du composition and in 1894 was elected to

the chair in the Academy left vacant by Gounod’s death. In 1896 Dubois

succeeded Ambroise Thomas as Director of the Paris Conservatory and

retired in 1905.'°®

Dubois, Pierre M ax (1930-

Dubois was bom in Graulhet on March 1, 1930. He began his studies

at Le Conservatoire National Supérieur de Musique de Paris in 1949. In

1955 he won the Prix de Rome and in 1964, Le Grand Prix o f the city of

Paris.'°’

Baker’s Biographical Dictionary o f Musicians, 8th ed., s.v. “Dubois, (François-Clément)Théodore.”

Kristine Klopfenstein Fletcher, The Paris Conservatoire and the Contest Solos for Bassoon, (Bloomington: Indiana University Press, 1988), 98.

158

Emmanuel, (M arie François) M aurice (1862-1938)

Maurice Emmanuel was bom in Bar-sur-Aube on May 2, 1862 and

died in Paris on December 14, 1938. He received his primary education in

Dijon, sang in the church choir in Beaune, then studied at Le Conservatoire

National Supérieur de Musique de Paris from (1880-1887). While at the

Conservatory he studied with Savard, Dubois, Delives, and Bourgault-

Ducoudray. Emmanuel specialized in the musical history o f antiquity under

Gevaert in Brussels; he also studied ancient languages at the Sorborme,

becoming licencié és lettres (1887) and a docteur és lettres (1895). He

was professor o f art history the Lycée Racine and Lycée Lamartine (1889-

1905); maître de chapelle at Saint Clotilde (1904-1907). In 1909 he

succeeded Bourgault-Ducoudray as professor of music history at the Paris

Conservatory. ‘

Enesco, Georges (1881-1955)

George Enescu (actual birth name) was bom in Liveni-Vimav on

August 19, 1881 and died in Paris on May 4, 1955. Enesco began playing

the piano at the young age of four, taking lessons with a Gypsy violinist,

Nicolas Chiom. He began composing when he was five then studied with

Caudella in Iasi. On August 5, 1889, he made his formal debut as a

violinist in Slanic, Moldavia. In the meantime, he had enrolled in the

Conservatory of the Gesellschaft der Musikfreunde in Vienna (1888), where'®‘ Baker’s Biographical Dictionary o f Musicians, 8th ed., s.v. “Emmanuel, (Marie François)

Maurice.”159

he studied violin with Bachrich, Griin, and J. Hellmesberger Jr.; piano with

Ernst; harmony, counterpoint, and composition with Fuchs; chamber music

with J.Hellmesberger Sr.; and music history with Prosnitz. There he won

first prize m violin and harmony in (1892). After his graduation in 1894,

he entered Le Conservatoire National Supérieur de Musique de Paris where

he studied violin with Marsick and J. White; harmony with Dubois and

Thomas; counterpoint with Gédalge; composition with Fauré and Massenet;

and early music with Diémer, winning Deuxième Accessit for counterpoint

and fugue in 1897 and graduating with the Premiér Prix for violin in

1899.'”

Erlanger, Camille (1863-1919)

Camille Erlanger was bom in Paris on May 25, 1863 and died there

on April 24, 1919. He studied at Le Conservatoire National Supérieur de

Musique de Paris with Delebes, Durand, and Matthias. In 1888, Erlanger

was awarded the Grand Prix de Rome for his cantata Velléda. He earned

fame with his opera Le J u if Polonaisz which was premiered in Paris, April

11, 1900. Other operas include: Kermaria (Paris, February 8, 1897); Le

Fils de l ’étoile (Paris, April 20, 1911); La Sorcière (Paris, December 18,

1912); and Le Barbier de Deauville (1917). Erlanger also wrote several

symphonic poems and a French Requiem.""

Baker's Biographical Dictionary o f Musicians, 8th ed., s.v. “Enesco, Georges”. Ibid. “Erlanger, Camille”.

1 6 0

Français, Jean (1912-

Jean Français was bom in Le Mans on May 23, 1912. He first

studied at the Le Mans Conservatory o f which his father was director.

Français latter took courses at Le Conservatoire National Supérieur de

Musique de Paris studying with Isidor Phillipp (piano) and Nadia

Boulanger (composition). In his music, he associated himself with the new

French school o f composers, pursuing the two-fold aim of practical

application and national tradition. His instrumental works represent a

stylization o f Classical French music.

Gallois-M oiitbrun, Raymond (1918-

Raymond Gallois-Montbrun in France in 1918. He studied with

Henri Biisser, Jean Gallon and Noël Gallon, at Le Conservatoire National

Supérieur de Musique de Paris. Gallois-Montbrun won the Grand Prix de

Rome in 1944 and became director o f Conservatoire National Supérieur de

Music in 1966 and served there until 1984."^

Gartenlaub, Odette (1922-

Odette Gartenlaub was bom in Paris on March 13, 1922. Entering Le

Conservatoire National Supérieur de Musique de Paris at a very early age,

she won the Premiér Prix at the age o f 14. Subsequently, Gartenlaub won

Baker’s Biographical Dictionary o f Musicians, 8th ed., s.v. ‘Trançais, Jean”.Harry R. Gee, Clarinet Solos de Concours, 1897-1980: An Annotated Bibliography.

(Bloomington: Indiana University Press, 1981), 60.1 6 1

Le Premiér Prix in harmony, fugue and counterpoint In 1948 she won the

Grande Prix de Rome.“^

Gaubert, Philippe (1879-1941)

Gauvert was bom in Cahors on July 4, 1879. He studied with

Taffanel at Le Conservatoire National Supérieur de Musique de Paris, won

the Grand Prix de Rome in 1905 and later became professeur de flute at the

Conservatory."" A distinguished flutist and composer, Gaubert attained the

Premiér Prix in flute on his first attempt, at the age o f 15. In 1905, he won

the Deuxième Prix de Rome in composition. From 1919 to 1938, he was

the conductor for the conservatory concerts, and in 1920, he was appointed

first conductor at the opera.'"

Gédalge, André (1856-1926)

Gédalge was bom in Paris on December 27, 1856 and died in Chessy

on February 5, 1926. Considered to be an eminent French music theorist,

composer, and pedagogue, he began his study o f music late in life and

entered Le Conservatoire National Supérieur de Musique de Paris at the age

of 28. However, he made rapid progress and obtained the Deuxième Prix

de Rome after a year o f study with Guiraud. He then elaborated a system ofKristine Klopfenstein Fletcher, The Paris Conservatoire and the Contest Solos fo r Bassoon,

(Bloomington: Indiana University Press, 1988), 80.Robert Dale Olson, "The Development o f Modem Solo Trumpet Literature as Traced Through

The Morceaux de Concours at the Paris Conservatory. ” (Denton, Texas: North Texas State College, 1957), 112.

Harry R. Gee, Clarinet Solos de Concours, 1897-1980: An Annotated Biblio^aphy. (Bloomington: Indiana University Press, 1981), 33-34.

1 6 2

counterpoint, later published as Traité de la f u ^ e (Paris, 1901); English

translation (1964), which became a standard work.

In 1905, Gédalge was hired as professeur de contrepoint e t fugue at

the Paris Conservatory. His students include Ravel, Enesco, Koechlin,

Roger-Ducasse, Milhaud and Honegger."®

Gotkovsky, Ida Rose Ester (1933-

Ida Gotkovsky was bom in Calais on August 26, 1933. She studied

at Le Conservatoire National Supérieur de Musique de Paris with Aubin,

Noël Gallon, Messiaen, Nadia Boulanger, Ciampi, and Hugon, Gotkovsky

has written numerous pieces for various string and wind instruments."’

Hue, Georges (1858-

Georges Adolphe Hue was bom in Versailles, May 6, 1858. He

studied at Le Conservatoire National Supérieur de Musique de Paris where

he won the Grand Prix de Rome in 1879 and Prix Crescent in 1881. In

1922 he succeeded Saint-Saëns as a member o f the Académie des Beaux-

Artsf'^

Baker’s Biographical Dictionary o f Musicians, ed., s.v. “Gédalge, André”."’Kristine Klopfenstein Fletcher, The Paris Conservatoire and the Contest Solos fo r Bassoon,

(Bloomington: Indiana University Press, 1988), 88.' " Robert Dale Olson, “The Development o f Modem Solo Trumpet Literature as Traced Through

The Morceaux de Concours at the Paris Conservatory. " (Denton, Texas: North Texas State College, 1957), 113.

163

Jolivet, A ndré (1905-1974)

Jolivet was bom in Paris on August 8, 1905 and died there on

December 20, 1974. A son o f artistically inclined parents, he took an

interest in the fine arts, wrote poetry, and improvised at the piano at a very

young age. Jolivet studied cello with Louis Feuillard and theory with Aimé

Théodas at Nortre Dame de Clignancourt. At the age o f 15, he wrote a

ballet and designed a set for it; then undertook a prolonged study of musical

techniques with Paul Le Flem (1928-33). His meeting with Varèse in 1930

was of decisive importance to the maturation of his creative consciousness.

Varèse, then living in Paris, gave him a sense o f direction in composition.

In 1935, he organized in Paris the progressive group La Spirale. In 1936,

in association with Yves Baudrier, Olivier Messiaen, an Daniel Lesur, he

founded La Jeune France, dedicated to the promotion of new music in a

national French style. He served as conductor and music director of the

Comédie Française (1943-1959), was technical adviser of the Direction

G 'n'rale des Arts et des Lettres (1959-62), and president of the Concerts

Uxmourevx (1963-68). In 1965 he was hired as professeur de composition

at the Paris Conservatory and remained until 1970.

Jolivet toured throughout the world as a conductor of his own music.

“He injected an empiric spirit into his music, making free use of

modernistic technical resources, including the electronic sounds of the

Ondes Martenot. Despite these esoteric preoccupations, and even a

peripheral deployment of serialism, his music was designed mainly to164

provide aural stimulation and esthetic satisfaction”.

Jolivet has made a substantial contribution to the solo literature for

wind instruments. Since 1945, his works have been numerous and

significant enough to assign him an exceptional place alongside those

having extremist tendencies. He has remained, in essence the modal

composer and had, perhaps even more than Messiaen, pressed the

exploration of modes to the limit and included them in his music. His

modal language and rhythmic writing (often without bar lines) and his use

o f color respond to a deep need to preserve for music its essential role of

mystic incantation. Golea states, “Alongside Messiaen, to whom he owes a

great deal, André Jolivet represents and incarnates one of the strongest

creative forces of contemporary music.”

Jonas, Emile (1827-1905)

Emile Jonas was bom in Paris on March 5, 1827 and died at Saint-

Germain-en-Laye on May 21, 1905. He was a pupil o f Lecoupey and

Carafa at Le Conservatoire National Supérieur de Musique de Paris. In

1847, he received the Deuxième Prix de Rome and in 1847 he was

appointed professeur de solfege at the conservatory.’ '

' ''Baker's Biographical Dictionary o f Musicians, 8th ed., s.v. “Jolivet, André”.Harry R. Gee, Clarinet Solos de Concours, 1897-1980: An Annotated Bibliography

Bloomington: Indiana University Press, 1981, 64-65.Robert Dale Olson, “The Development o f Modern Solo Trumpet Literature as Traced

Through The Morceaux de Concours at the Paris Conservatory. ” (Denton, Texas: North Texas State CoUege, 1957), 114.

165

Lancen, Jean-Serge M athîeu-Pierre (1922-

Serge Lancen was bom in Paris on November 5, 1922. Lancen

began his musical career at a very young age. He began to compose music

at the age o f four and by the age o f fourteen was performing his own

compositions in public. Lancen entered Le Conservatoire National

Supérieur de Musique de Paris to study with Tony Aubin, Henri Biisser,

and Noël Gallon. In 1949 Lancen won the Premiér Prix in composition.'^^

Le Boucher, M aurice (1882-1964)

Le Boucher was a member of the composition class o f Gabriel Fauré

at Le Conservatoire National Supérieur de Musique de Paris. He won the

Deuxième Prix de Rome in 1906 and the Premiér Grand Prix in 1907. In

1920, he became the Director o f the National Conservatory at Montpellier.

His other concours were for oboe (1932) and clarinet (1935). He wrote

several orchestral works, incidental music for plays, church music, chamber

music, vocal music, and piano works.

Levade, Charles (1869-

Charles Gaston Levade was bom in Paris on January 3, 1869. He

attended Le Conservatoire National Supérieur de Musique de Paris where


Harry R. Gee, Clarinet Solos de Concours, 1897-1980: An Annotated Bibliography Bloomington: Indiana University Press, 1981, 55.

1 6 6

he studied with Massenet and won the Grand Prix de Rome in 1899.' '*

Luigini, A lexander (1850-1906)

Alexander Clement Leon Joseph Luigini was Bom in Lyons on

March 9, 1850 and died in Paris on July 29, 1906. He studied at Le

Conservatoire National Supérieur de Musique de Paris under Massart,

Savard, and Massanet. He composed music for many stage works and later

became chef d ’orchestra at the Opera Comique de Paris.

M anen, Christian (1934-

Christian Manen was bom in Paris in 1934. He studied at Le

Conservatoire National Supérieur de Musique de Paris where he won a total

of eight Premiér Prix in solfège, harmony, counterpoint, fugue, percussion,

composition, conducting, and organ improvisation. In 1961 Manen won the

Grand Prix de Rome and was appointed a position at the conservatory. He

resigned in 1964 to act as director and conductor at the Ecole de Musique in

Asniéres.^^®

Robert Dale Olson, “The Development o f Modem Solo Trumpet Literature as Traced Through The Morceaux de Concours at the Paris Conservatory. ” (Denton, Texas: North Texas State College, 1957), 114.

Robert Dale Olson, "The Development o f Modern Solo Trumpet Literature as Traced Through The Morceaux de Concours at the Paris Conservatory. " (Denton, Texas: North Texas State College, 1957), 114.

"‘Kristine Klopfenstein. Fletcher, The Paris Conservatoire and the Contest Solos for Bassoon, (Bloomington: Indiana University Press, 1988), 97.

167

M argoni, Alain (1939-

Alain Margoni was bom in 1939. As a student at Le Conservatoire

National Supérieur de Musique de Paris he studied under Aubin, ChaUan,

Fourestier, Martenot, and Messiaen. Margoni has served as the director of

music at the Comédie Français and professeur du conservatoire

M artelli, Henri (1899- )

Henri Martelli was bom in Bastia, Corsica on February 25, 1895.

He studied law at Paris University while taking lesson with Mouguet,

Caussade, and Widor at Le Conservatoire National Supérieur de Musique de

Paris. In his compositions, “he attempted to recreate the spirit of the old

French music in terms of modem counterpoint.” ' ®

M arty, Georges (1860-1908)

George Eugene Marty was bom in Paris on May 16, 1860 and died

there on October 11, 1908. He studied composition and organ with César

Franck at the Schola Cantorum then attended Le Conservatoire National

Supérieur de Musique de Paris and won the Grand Prix de Rome in 1882.'^®

He was appointed as an instructor at the Conservatory in 1894, and in 1903

he succeeded P. Taffanel as conductor o f the famous Société des Concerts

Ibid., Fletcher, 87.Harry R. Gee, Clarinet Solos de Concours, 1897-1980: An Annotated Bibliography.

(Bloomington: Indiana University Press, 1981), 59. quoting Baker, op cit., 1034.Robert Dale Olson, "The Development o f Modern Solo Trumpet Literature as Traced

Through The Morceaux de Concours at the Paris Conservatory. ” (Denton, Texas: North Texas State CoUege, 1957) , 115.

1 6 8

du Conservatoire. 130

M augüé, Jules M arie Laure (1869-

Jules Maugüé was bom in Nancy in 1869. He obtained a Premiér

Prix in violin at Le Conservatoire in his native city and in continued study

o f harmony and composition led him to Le Conservatoire National

Supérieur de Musique de Paris. He was a violinist at the Opéra and

Director o f the National School o f Music at Cambrai.

Besides trumpet, Maügué wrote solos for the viola (1928), clarinet

(1930), oboe (1933), horn (1944), and bassoon (1950). The catalogue of

the Bibliothèque National also lists an orchestral suite, Hyporchèmes,

published in 1922.* ‘

M azellier, Jules (1879-1959)

Mazellier was bom in Toulouse on April 6, 1879. He studied at Le

Conservatoire National Supérieur de Musique de Paris under Fauré and

Lenepveu. From 1918 to 1922, Mazellier was conductor o f the Opéra-

Comique', he was also appointed professeur de conservatoire and served

there until 1928. Mazellier’s compositions include instrumental and

orchestral music as well as music for the théâtre (e.g.. Coeur de Paris and

Les Matines d ’Amour). He won the Grand Prix de Rome in 1909 and was

Harry R. Gee, Clarinet Solos de Concours, IS97-1980: An Annotated Bibliography (Bloomington: Indiana University Press, 1981), 22.

Ibid., Gee, 22.169

later director o f the Opéra Comique. 132

M ouquet, Jules (1867-1946)

Jules Mouquet was bom in Paris on July 10, 1867. He studied

harmony and composition at Le Conservatoire National Supérieur de

Musique de Paris with Dubois and won the Premiér Prix de Rome in 1896.

In 1913 he was appointed as professeur de harmonie at the Conservatory.

He wrote two oratorios, three symphonic poems, chamber music, and pieces

for flute, oboe, bassoon, and saxophone.'^^

D ’Ollone, M ax (1875-1959)

A prolific composer, conductor, and writer on musical subjects. Max

d’OUone won the Grand Prix de Rome in 1897. Hill speaks o f d’Ollone as

an example o f “Massenet’s pervading vitality as a teacher, especially in

connection with opera”. D ’Ollone was professor at the Conservatoire and

was active as an opera conductor in Paris and the French provinces. He

wrote five operas, a fantaisie for piano and orchestra, chamber music,

among many vocal pieces.

Graves Dictionary o f Music and Musicians, 5th ed., s.v. “Mazellier, Jules.”Kristine Klopfenstein Fletcher, The Paris Conservatoire and the Contest Solos for Bassoon,

(Bloomington: Indiana University Press, 1988), 58.Harry R. Gee, Clarinet Solos de Concours, 1897-1980: An Annotated Bibliography.

(Bloomington: Indiana University Press, 1981), 35. quoting Edward B. Hill, Modem French Music (New York: Da Capo Press, 1924), 187.

170

Pessard, Em ile (Louis Fortuné) (1843-1917)

Emile Louis Fortuné Pessard was bom in Paris on May 29, 1843 and

died there on February 10, 1917. Pessard received his musical training at

Le Conservatoire National Svpérievr de Musique de Paris where he studied

with Brazin (harmony), Laurent (piano), Benoist (organ), and Carafa

(composition). He won the Premiér Prix de Harmonie in 1862, and the

Grand Prix de Rome in 1866 with the cantata Dalila . In 1881 he was

appointed professeur de harmonie at the Paris Conservatory. As a student,

Debussy copied Passard’s song Chanson d ’un fou , and the manuscript in

Debussy’s handwriting was published erroneously as Debussy’s own.'^^

Petit, P ierre (1922-

Pierre Petit was bom in Poitiers in 1922. Petit’s musical education

began at the Ecole Normale de Musique de Paris then continued at Le

Conservatoire National Supérieur de Musique de Paris. At the

Conservatory he won the Premiér Grand Prix de Rome in 1946. Petit was

later appointed to director of Ecole Normale de Musique de Paris.^^^

Rivier, Jean (1896-

Jean Rivier was bom in ViUemonble on July 21, 1896. He served in

the French Army during World War I and in 1918 began his studies at Le

Baker’s Biographical Dictionary o f Musicians, 8th ed., s.v. “Pessard, Emile (Louis-Fortuné)”.

""Kristine Klopfenstein Fletcher, The Paris Conservatoire and the Contest Solos for Bassoon, (Bloomington: Indiana University Press, 1988), 93.

171

Conservatoire National Svperieiar de Musique de Paris. While at the

Conservatory, he studied with Georges Caussade, Maurice Emmanuel, Jean

Gallon, and Paul Bazelaire. In 1947 Rivier was appointed Professeur de

Composition du Conservatoire where he remained until 1966.

Ropartz, Joseph Guy (Marie) (1864-1955)

Ropartz was bom in Guingamp, Côtes-du-Nord on June 15, 1864 and

died in Lanloup-par-Plouha, Côtes-du-Nord on November 22, 1955. He

entered the Le Conservatoire National Supérieur de Musique de Paris as a

pupil of Dubois and Massenet then took lessons on organ and composition

from César Franck, who remained his chief influence in composition.

Ropartz was director of the Conservatory in Strasbourg from 1919 to 1929.

He retired to live in Lanloup-par Plouha.^^®

Savard, M arie Augustin (1861-

Marie Emmanuel Augustin Savard was bom in Paris on May 15,

1861 and entered Le Conservatoire National Supérieur de Musique de Paris

in 1880. She won the Prix de Rome in 1886 and went on to be director of

the Lyons Conservatory.^^’


Baker’s Bxo^aphical Dictionary o f Musicians, 8th ed., s.v. “Ropartz, Joseph Guy (Marie)”. Robert Dale Olson, “The Development o f Modern Solo Trumpet Literature as Traced

Through The Morceaux de Concours at the Paris Conservatory. " (Denton, Texas: North Texas State College, 1957), 116.

172

Schm itt, Florent (1870-1958)

Schmitt was bom in Blâment, Meurthe-et Moselle on September 28,

1870 and died in Neuilly-sur-Seine, near Paris on August 17, 1958.

Between 1887 and 1889, he studied piano with Hess and harmony with

Sandre at the Nancy Conservatory. He entered Le Conservatoire National

Supérieur de Musique de Paris where he studied with Dubois and Lavignac

(harmony), with Gédalge (fugue), and with Massenet and Fauré

(composition). Schmitt won the Deuxième Prix de Rome with cantata

Frédégonde (1897) and the Grand Prix de Rome with his cantata Sémiramis

(1900). He spent the years 1901-1904 in the Billa Medicis in Rome,

sending to the académie several important instrumental and choral

compositions. In 1906 he returned to Paris, where he served as a member

o f the executive committee o f the Société Musicale Indépendante from its

foundation in 1909 and was also a member of the Société Nationale de

Musique}*^

Sem ler-Collery, Jules (1902

Semler-Collery was bom in Paris on September 17, 1902. He

studied at Le Conservatoire National Supérieur de Musique de Paris under

Paul Vidal and Vincent d ’Indy. Along with his compositions on trumpet,

his works include concours for clarinet, saxophone, oboe, and bassoon.'"*'

**“ Baker’s Biographical Dictionary o f Musicians, 8th ecL, s.v. “Schmitt, Florent”.Kristine Klopfenstein Fletcher, The Paris Conservatoire and the Contest Solos fo r Bassoon,

(Bloomington: Indiana University Press, 1988), 75.173

Silver, Charles (1868-

Charles Silver was bom in Paris on April 16, 1868. He received his

musical training at Le Conservatoire National Supérieur de Musique de

Paris under Dubois and Massenet winning the Prix de Rome in 1891.*'*

Thom é, François (1850-1909)

François Line Joseph Thomé was bom in Port Louis, Mauritis on

October 18, 1850 and died in Paris on November 16, 1909. He studied at

Le Conservatoire National Supérieur de Musique de Paris with Marmoutel

and Duprato.'^^

Tom asi, H enri (Frédien) (1901-1971)

Henri Tomasi was bom in Marseilles on August 17,1901 and died in

Paris on January 13, 1971. He received his musical training at Le

Conservatoire National Supérieur de Musique de Paris under Paul Vidal,

Caussade, and d’Indy, where he won the Deuxième Grand Prix de Rome for

his cantata Coriolan (1927). From 1930 to 1935 he was music director on

the French Radio. He served in the French army (1939-40) and was the

conductor o f the opera in Monte Carlo from 1946 to 1950. Tomasi was

awarded the Grand Prix de Musique Française in 1952. His music is

marked by impressionistic colors, he was particularly attracted to exotic

Robert Dale Olson, “The Development o f Modern Solo Trumpet Literature as Traced Through The Morceaux de Concours at the Paris Conservatory. ” (Denton, Texas: North Texas State College, 1957), 117.

Ibid., Olson, 117.174

subjects. An active composer, Tomasi produced works in all genres,

including concerti for flute, oboe, clarinet, bassoon, saxophone, trumpet,

horn, and violin. His Concerto for Trumpet has been regarded as one o f

the most challenging and rewarding compositions in trumpet literature.

Tournemire, Charles (Arnould) (1870-1939)

A distinguished French organist and composer; Tournemire was bom

in Bordeaux on January 22, 1870 and died in Arachon on November 3,

1939. He began his training as a child in Bordeaux and was only 11 when

he became organist at St. Pierre, and later was organist at St Seurin. He

received additional music education at Le Conservatoire National Supérieur

de Musique de Paris where he studied with De Beriot (piano), Taudou

(harmony), Widor and Franck (organ). At the conservatory he won the

Premiér Prix on organ in 1891. Tournemire also studied composition with

d’Indy at the Schola Cantorum. He was appointed professeur de orgue at

the Paris Conservatory in 1919.'“*

Vidal, Paul (1863-1931)

Noted French conductor, pedagogue and composer, Paul Vidal was

bom in Toulouse, June 16, 1863 and died in Paris on April 9, 1931. He

studied at Le Conservatoire National Supérieur de Musique de Paris and in

1883 won the Prix de Rome with his cantata Le Gladiateur. In 1889 he'** Baker’s Biographical Dictionary o f Musicians, 8th ed., s.v. “Tomasi, Henri (Frédien)”.

Ibid., Baker’s,“Toumemire, Charles (Amould)”.175

joined the staff of the Paris Opéra as assistant choral director and later

became principle conductor there. He ta u ^ t solfège and accompaniment at

the Paris Conservatory form 1894 until 1909, then was appointed

professeur de composition. Vidal also served as music director o f the Opéra

-Comique from 1914 to 1919, Vidal’s works include operas, an operetta, a

ballet, piano pieces, songs, Manuel pratique d ’harmonie, and Notes et

observations sur la composition et exécution.^*^

W eber, Alain (1930-

Alain Weber was bom in Chatêau-Thierry (Aisne) on December 8,

1930. Weber studied composition with Tony Aubin at Le Conservatoire

National Supérieur de Musique de Paris and was awarded Premiér Grand

Prix de Rome there in 1952.*'*’

^*^Baker’s Biographical Dictionary o f Musicians, iih s.v. “Vidal, Paul”.Kristine Klopfenstein Fletcher, The Paris Conservatoire and the Contest Solos fo r Bassoon,

(Bloomington; Indiana University Press, 1988), 86.176

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